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Full text of "Movie Makers (Jan - Dec 1929)"

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Scanned from the collection of 
Karl Thiede 

Coordinated by the 

Media History Digital Library 

Funded by an anonymous donation 
in memory of Carolyn Hauer 

Digitized by the Internet Archive 

in 2011 with funding from 

IVIedia History Digital Library 

illastAzine of tlic^ ^niiitoiir Cinema Lciisjiio, 

"Whdt you sec, you get 


Each completed 

ftlMUl) 15 

has passed more than one thousand 
rigid inspection tests 

' I 'HIS pocket size Filmo camera is the 
■*■ achievement of skilled craftsmen 
whose lives, for twenty-two years, have 
been exclusively devoted to the mechani- 
cal development and refinement of 
motion pictures. 

Having supplied, for almost a quarter 
of a century, cameras and mechanical 
equipment used in the production of pro- 
fessional movies, it was but nat- 
ural that these Bell ii Howell 
technicians should become the 
pioneers and outstanding lead- 
ers in the development of 
picture making equipment for 
the amateur. 

The secret of the accuracy 
and watch-like precision that 
distinguish Filmo 75 lies in the 
deftness with which these men unerr- 
ingly guide dehcate tooling operations 
to pass tolerance tests of l-2000th. 


1 -5000th and up to l-10,000th of an 
inch, which the various parts require. 
About two hundred such parts, of 
the finest materials the world affords, 
enter the assembly of each Filmo 75. 
More than one thousand separate, rigid 
inspections and tests are given to raw 
materials, parts and assembly before the 
finished Filmo 75 is finally passed upon 
as worthy of its future 

It is such things as these 
that are responsible for the 
satisfaction and enthusiastic 
approval expressed by thou- 
sands of Filmo 75 owners. 

Filmo 75 is in truth a super 
camera — bringing personal 
movies of the usual Bell &' 
Howell standards of theater bril- 
li.mce and excellence to those who 
prefer a camera of this small size, 

Filmo 75 

Available in three rich colors — Walnut Brown, 
Ebony Black, SiK'er Birch. Price, $120. includes 1 ux- 
urious plush-lined carrying case of genuine Scotch- 
drained, embossed leather. 

Filmo 70 ^towninovalatleft.isrecognued 
as the tinest and most adaptable 
personal movie camera made anywhere at any price. 
Has variable speeds and shutter with 216^ opening. 
S-l-o-w movie adjustments optional. Priced at $180, 
with distinctive leather carrying case. 

convenient type and moderate cost. 
Ask any Filmo dealer to demon- 
strate the superior workmanship and 
adaptability of Filmo 75, Filmo 70 and 
Filmo Projector, or write to us for the 
illustrated, descriptive booklet "What 
You See, You Get." 


BELL a: HOWELL CO., Depl. A, 1828 Larchmont Ave., Chicago, III 

New York. Hollywood. London B. fli H.Co.. Ltd.) 

■ Established 1907 


Popular Items from 

for the 

The Ideal Case for 
Amateur Movie Cameras 

The New Alligator leather mocatan finish 
carrying cases are strongly constructed, 
plush lined, and have compartments lor 
films and accessories. 

Can be had in 4 models— lor 

Cine Kodak with F-3.5 lens $12.50 

Cine Kodak with F-1.9 lens 12.50 

Filmo Model 70 15.00 

Filmo Model 75 10.00 



provides an all year round 
ind almostunlimitedsource 
of pleasure. Its steady, 
powerful light enables you 
to take perfect pictures 
right in your own hom^- 
even on dark and wintry 
days and at night. 
Fotolite can be plugged in 
on an> electric light socket. 
It eliminates the sparks, 
the sputterings and the 
"light fright" of the arc 
lamp— and gives the most 
light per ampere. 

No. 5 Fotolite reflector 
complete with stand 
and 500-watt bulb 





and now available for 


witli your Filmo 

1 inch focus ^60.00 

Kodacolor attachment 24.00 


33 '/2" 


Tilt and 
Panoram Top, 
only $17.50 


Ideal for Motion Picture Work 




Screen Rolled in Case for carrying 

— Size 16x3x2'/2 — picture surface 9', 

X113/4 in. Weight 3 lbs JIO.OO 

. 1— Size 331/2x31/4x4— picture surface 

22x30 in. Weight 6 lbs $15.00 

. 2— Size 45l/2x4l/;x.S— picture surface 

30x40 in. Weight 15 lbs. $25 00 
.3 — Size 57x4-'jv,5 — picture surface 3M 

x52 in. Weight IH lbs $35.00 

■ 4 Size 72x51.4x512 — picture surface 

51x68 in. Weight 40 lbs $75.00 


for use with 
Cine Kodaks and Filmo Cameras 

Automatic — scientifi- 
cally exact under all 
light conditions. Gives 
correct diaphraijm set- 
tings for Sun and twi- 
light, outdoors, studio, 
Natural or artificial 
light. Always ready 
for use. 

Price in Leather Case 




110 WEST 32'^'' STREET , NEW VORK 


ji/%mn;ARV ■9:i<> 

Winter Fun 

with Your Projector 

For evenings at home, when you are entertaining, or 
just within the family circle, there is no end to the 
entertainment ,i well chosen film library can give you. 

All leading library films for sale, and gladly shown 
in special projection rooms, without obligation 

Kodak Cinegraphs 
Filmo Library 

NEW B. & H. 
250 Watt 

^*||^\ Burton Holmes 
^J Bray Library 
Cine Art 



Liberal allowance on your present projector, toward purchasing 
this wonderfully powerful, variable resistance model. 

Herbert & Huesgen Co. 

18 EAST 42nd STREET - near Fifth Avenue ■ NEW YORK 


The BusTOjj Magazint ff tlx Artmttur M<nic Imbnlry 

lANI Vl.>. I >/ » 


For Ho?}2e Projectors 

Bell & Howell Co.. Chicago, 111. The i-ilmo 
Sale Library offers this month two new com- 
panion 100-ft. reels featuring the Pendleton, 
Oregon, Kimnd-up: "The World Famous Rodeo," 
the film being described as full of wild horse 
action, steer riding and bulldogging, calf roping 
and championship contests, and "Indians at 
the Pendleton Rodeo," in which hundreds of 
Indians — men, women and children — are shown 
in costume in their war dances. 

D. E. Braud, Thibodaux, La., is introducing to 
the readers of Movie Makers 16mm. pictures 
produced by (^eo. N. (Jallagher of New Orleans. 
The initial offering (approximately 400 ft.) is 
"The Silver King," a sportsman's film, descrip- 
tive of tarpon fishing, "viewed from behind the 
South's foremost tarpon fisherman." 

Cine Art Productions, Inc., Hollywood, Calif, 
and New York, N. Y. "Jack and the Bean- 
stalk," an exclusive Cine Art Picture with 
miniature figures, is the stressed feature for 
the month. (.40U ft.J 

Devrv Corporation, Chicago, 111. The "mem- 
ber" of the School Film Lesson Courses sponsored 
by this company to which attention is directed 
for January is "American Statesmen," in six 
reels. It is said to be especially suited to the 
needs of pupils in the 5th to the 8th grades. 
The subjects are George Washington, Benjamin 
Franklin, Thomas Jefterson, Alexander Hamil- 
ton, Daniel Webster and Abraham Lincoln. 
Eastman Kodak Company, Rochester, N. Y. 
January brings the conclusion of the first of 
the Cinegraphs in the Fairyland Series. "Snap, 
the Gingerbread Man," is now in "Wildest 
Africa," and his friend, "Chip, the Wooden 
Man," is adventuring in "The Scarecrow's 
Ride." The fourth of the "Doings in Doodle- 
bug ville," "Spanish Serenaders," is described 
as one of the most exciting of the Doodle- 
bugville romances. These special Ciiiegraphs are 
in 100 ft. A 400-ft. Cinegraph is "The Misfit," 
in which Clyde Cook seeks refuge from matri- 
mony with the marines. 

Empire Safety Film Co. Inc., New York, N. Y. 
This library departs from its usual method of 
announcement by suggesting that amateurs make 
up a program for an evening's entertainment 
from their Empire Comedies and scenics, inter- 
spersing them with personal showings, the pro- 
gram ending with a Lindbergh or a Bremen. 
For a children's party it is suggested that 
Empire Chaplin Comedies be utilized. 

Burton Holmes Lectures, Inc., Chicago, 111. 
The Burton Holmes famous travelogues, in 100-ft. 
reels, may be chosen from a complete catalogue 
which will be mailed to anyone desiring it. 
Home Film Libraries, Inc., New York, N. Y. 
Here is a "high spot" for the cliildren in Pat 
Sullivan's "Felix," a 100-ft. picture on which 
a special drive is now on for a short time. 
Another feature filnj to which attention is drawn 
specifically is "9 3/5 Seconds," in which Charles 
Paddock and, of course, the cinder track, have 
the right of way for 6 reels. 

KoDAscoPE Libraries, Inc. The Babylon spec- 
tacle, "The Wanderer," in which Ernest Tor- 
rence, William Collier, Jr., Greta Nissen, Tyrone 
Power and Kathlyn Williams have the principal 
roles, is featured in the current advertising, 
but we are informed that the special release 
for January is "The Pony Express," a picture 
of the old west. This is a James Cruze pro- 
duction in which Ernest Torrence also figures, 
together with Ricardo Cortez, George Bancroft, 
Betty Compson and Wallace Beery. 

Pathegrams, 1 Congress St., Jersey City. N. J. 
Details of the month's announcement include 
"The War Machine," two 100-ft. reels of 
excerpts from World War scenes, "The Best 
Man," a Mack Sennett Comedy, and "The 
Eruption of Mt. Etna, both 400-ft. reels. "R.P.M.." 
one 100-ft. reel descriptive of motor racing, 
"Bre'r Rabbit and his Pals," a 400-ft. nature 
study reel; The Wee Scotch Piper, a film 
oddity in one 400-ft. reel and three additional 
subjects of the Harvard-Pathe Series, each in 
41.U) ft., "A Bit of Life in Java," "Volcanoes," 
and "Earthquakes." 

Ernest M. Reynolds, Cleveland, Ohio. The 
latest offerings here are a special holiday release, 
"Through the 1000 Islands," and "The Alpine 

Stone Film Laboratory, Cleveland, Ohio. The 
globe travel film, "Around the World in Forty- 
five Minutes" (three reels, 400 ft. each) is 
offered the amateurs by this library. 
Travel Movie Films, Inc.. New York. N. Y. 
The Mediterranean releases (Madeira, Gibraltar 
and Spanish Native Life) are the first Gardner 
Wells offerings to the amateurs through this 
new library. "Streets of London," "London 
from the Thames," and "Tarpon Fishing Off 
Boca Grande." make up the complete list of 
lilms so far released. 



JANUARY, 1929 



An Issue Devoted to the Discussion of the Amateur Photoplay 

Cover Design, Cine Stars Alejandro de Canedo 

Featured Releases, For Home Projectors "38 

Index to Advertisers 842 

Editorial, The Cine Salon 8'*' 

The Amateur Takes Leadership As Disclosed by J. S. Watson, Jr. 847 

How Experimenters, in Circumventing Production Difficulties, Have Achieved the Greatest 
Cinematic Advance Since "The Cabinet of Dr. Caligari." 

Telling a Film Story, A Simplified Guide for the Beginner in Photoplay Production Arthur L. Gale 849 

When Headliners Hit It Up Barclay H. Warburton, Jr. 852 

A Confession of the Cinematic Crimes of Certain Continental Celebrities 

The Tools of Their Art, Glimpses Into the Workshops of .Imateur Producing Groups Arthur L. Gale 853 

Amateur Clubs, News of Group Filming Edited by Arthur L. Gale 854 

Educational Films, News of Visual Education in Schools and Homes Edited by Louis M. Bailey 857 

Fixing, Perfecting the Plan of Your Photoplay, Before Shooting, for Economy and Excellence. .Epes W. Sargent 858 

How to Make Silk Purses, Ingenuity as a Panacea for Amateur Production Problems Arthur L. Gale 860 

"As It Was In the Beginning," A Drawing Alan Dunn 861 

The Lesson of Poverty Row Epes W. Sargent 862 

Critical Focusing, Technical Reviews to Aid the Amateur 864 

Photoplayfare, Reviews for the Cintelligenzia 865 

A Paradox of the Photoplay Herman G. Weinberg 866 

A Professional Turns .4 mateur and Wins Professional Success. 

The Clinic Edited by Walter D. Kerst 870 

Film Flam ^^"^ 

Resolved, A 100-foot "Film Story" for New Years'. Marion Norris Gleason 876 

The End, A n A rt Title Background O'Dell Mason 878 

News of the Indlistrv, For .4 mateurs and Dealers "oo 

Amateur Club Department Index For 1928 °'' 

Amateur Photoplays of 1928 892 

Index to Dealers Who Carry Movie Makers 898-9 

♦ ♦ ♦ 

MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. 

Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50): to members of the 

Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies. 25c. 

On sale at photographic dealers everywhere. 

F.ntered as second-class matter August 3, 1927, at the Post Office at New York. N. V., under the Act of March 3. Wl'). 
Copyright, 1929, by the Amateur Cinema League, Inc. Title registered at United States Patent Office. 

Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pennsylvania 3715. 

Advertising rates on application. Forms close on 5th of preceding month. 

K. L. NOONE, Adverlisitig Manceer 

WALTER D. KERST, Trclnnral Edilur ARTHUR L. GALE. Cl„b a,,d Photoplay Editor 




J.-VXt'/ViMV 19:19 


Completely Equipped 

With Carrying Case and Reels. Just Plug In Light Socket 

Model A 

Patents Pending 



!MO'%'HE 1M;%K.CR< 



A Marvel of Mechanical Precision 

DUOGRAPH meets the increasing demand for a low priced, 
high quaHty machine. In appearance and performance it is 
in a class entirely its own. 

T^UOGRAPH is the ideal apparatus for cutting, editing and 
^-^ selecting enlargements. Individual pictures can be held in- 
definitely on screen without damage to film. 

'T'HE highest grade of materials and workmanship are incorpo- 
-*- rated in Duograph. Its symmetrical lines and artistic finish 
in exquisite colors make it an article of rare beauty and an orna- 
ment to any home. 

Duograph compares favorably with any 16 m»m* Projector on 
the market '"- regardless of price! 


Mechanical Parts: Highest quality materials. Electrical Appliances: By General Electric Co. 

Die Castings: By Aluminum Company of America. Lens: Famous Wollensak 2 in. focal length. Interchange- 

Optics: Highest type ground piano condensers; mirroide 

reflectors'and prismatic mirror. Focusing: By turning lens mount in barrel to desired 

size of picture. 
Illumination: Specially designed C. C. filament lamp with 

bayonet base. (Made by Edison Lamp Works, General Threading: Simplest and easiest ever conceived. 

Electric Co.) Framing: \djustable to any film. 

Finish: Durable and artistic. Easily cleansed. Weight: Six pounds. 

Movement: Unequalled precision movement, insuring Single Frame Projection: Individual pictures can be 

clear projection and steadiness. held on screen indefinitely without any fire hazard. 


If not yet available through your dealer, write to us 


Film Reels of Travel 

Edited and Titled 

Burton Holmes 

?7.50 per 100 ft. Reel 16 mm. 

<o. 32— Rolling into Rio 

•^'o. 33 — The Great Cataracts of Igoassa 

■io. 34— Kauai— The Garden Island of Hawaii 

*o. 35 — Sorfinl — The Famoos Sport of Waikiki 

*o. 36 — Hawaiian Shores 

»o. 37 — Paris from a Motor 

."o. 38— Nine Glories of Paris 

.'o. 39— A Trip on the Seine 

»o. 40 — The "Great Waters' 


of V. 

. 41- 

. Marke 

No. 42— Cafe Life in Paris 

No. 43 — The New York Way Called Broad 

No. 44— Fifth .Arenoe and the Forties 

No. 45 — Canals and Streets of .Amsterdam 

No. 46 — Diamond Cotters of .\msterdam 

No. 47— Goinj to \olendam 

No. 48— The Cheese Market of .Alkmaar 

No. 49— Fjords of Norway 

No. 50 — Yosemite Vistas 

No. 51— Waterfalls of the Yosemite 

No. 52— Revkjavik, Capital of Iceland 

No. 53 — Down the Danube 

No. 54— The Lake of Loceme 

No. 55 — Alpine Vistas from the Zugspitze 

No. 56 — Pictoresque Salzbnrl 

No. 57 — L'p-to-daie Alpinism 

No. 58 — Glimpses of Vienna 

No. 59— A Qond-Land Fantasy 

No. 60— The City of Al|iers 

No. 61— Teak Lo^inf with Elephanu 

No. 62— Canals of Venice 

-No. 63— Stones of \enice 

No. 64— Two Ends of a Rope 

No. 65 — Cocoons to Kimono 

-No. 66 — The Damascus Gate 

.No. 67— Crossing the Equator 

.No. 68— Deck Sports in the Celebes Sea 

No. 69— The Gor«e of Pa«sanjaii 

No. 70— .Aleiandria 

No. 71— Real Streeu of Cmto 

No. 72 — Bazaars of Cairo 

No. 73— Suburbs of Cairo 

No. 74 — The Road to the Pyramids 

No. 75— Calling on the Sphinx 

No. 76 — The P>Tamids 

No. 77— The Nile Bridge 

No. 78— The Lpper Nile 

.No. 79— Mecca PiUrimage 

No SO— Estes Park. Colorado 

No. 81— Rocky .Mountain National Park 

No. 82— Yellowstone Park Revisited 

See Your Dealer 
or Send for Complete Catalog 

We also offer a complete motion picture 
laboratory service for amateurs and profes- 
•ionals in both standard and sixteen milli- 
meter film. 

Burton Holmes Lectures. Inc. 
-510 N. .\shland .Ave.. Chicago 

.American Schixil of Photography . 896 

.\iTow Screen Co 895 

Ba#* Camera Co 888 

Becklev & Church. Inc. 888 

Bell & Howell Co. 836.872-3 

D. E. Braud 891 

Buchheister Studio* 895 

Chicago Commercial Photographic Co.. 896 

Cine .\rt Productions, Inc 897 

Cine .Miniature 896 

Cinematic .-Vccessories Co. 883 

Clark Cine Service 890 

Clas-sified .Xdvertising 842 

Cullen. W. C. 843 

Dahme. Inc., F. .■V. .\. 891 

De\ o Corpn. 844 

Drem Products Corpn 893 

Duograph. Inc 840-1 

Eastman Kodak Co. 868-9, 875, 902 

Eastman Kodak Stores, Inc 884 

Empire Safety Film Co 882 

Eno's Art Tides 894 

Fii^:her■^ Camera Serrice 894 

Gillette Camera Stores 8% 

Goerz American Optical Co., C. P. 897 

Hatlstrom & Sanders 896 

Hayden Co.. A. C 901 

Herbert 4 Heusgen Co 838 

Holmes Lectures, Inc., Burton 842 

Home Film Libraries. Inc. 

Kelsey Press Co. 

Kodascope Editing & Titling, Inc. 
Kodascope Libraries, Inc. 
Marshall. John G. 
Meyer & Co.. Hugo 
Midwest Films 
Minusa Cine Screen Co. 
Movie Dealers' Magazine 
Movie Editors. Inc. 
News Reel Laboratory . 
Pathe Exchanges. Inc. 
Photoplay Magazine 
Q.R.S. Company 
Reynolds. Ernest M. 

Scheibe. Geo. H. 

Stonelab. Inc 

Stumpp & Walter Co 

Teitel. Albert 

Testrite Instrument Co 

Thalhammer Corporation 

Travel Movie Films. Inc. 
Truvision Projection Screen Corp. 
\ ictor Animatograph Co.. Inc. 
Westphalen. Leonard 
Williams. Brown & Earle. Inc. 
Willoughby Camera Stores. Inc. 
WoUensak Optical Co. . 
Zeiss. Inc., Carl 





B. & H. Character Title Outfit. $20.00: 
Model A — 200-watt Eastman Kodascope 
projector. $70.00: Model A — 56-watt East- 
man Kodascope projector. $50.00: Eyemo 35 
mm. camera F-2.5 Cooke lens. $160.00; 
Filmo projector and case. $105.00: Double 
speed Filmo F-3.5 Cooke, $115.00: Cine- 
Kodak Model B F-3.5 lens. $60; SH" F-33 
Wollensak Telephoto for Filmo. $45.00: 6" 
F-4.5 Cooke Telephoto for Filmo. $57.50; 
De\'ry 35 mm. Automatic F-3.5 Velostigmat, 
$95.00: 80 ft. lea .Automatic 35 mm. Carl 
Zeiss F-3.5. $55.00: Victor 16 mm. Schneider 
F-2 lens. $117.00. WILLOLGHBYS. 110 
West 32nd St.. New York. 

.•\M.\TELRS make your own Sjifety Film 
Cement — simple. Four ounces cost 10 
cents. Guaranteed to hold or your money 
willingly returned. Send 50 cents for simple 
instructions. I work for large film company 
and know. Wells. 2950 Voorhies Ave., 
Sheepshead Bay. Brooklyn. N. Y". 

CHANCE for movie club. Pathe Profes- 
sional 35 mm. Studio Camera; was used 
in Brookl™ studios. Has Carl Zeiss /-3.5 
lens, two automatic shutters for making 
dissolves, overlaps, etc., footage meter, trick 
crank for single pictures, punch, iris and 
hood, 400 feet magazines, changing bag, 
case, sturdy precision tripod, tilting, pan- 
oraming; $275. Wells, 2950 Voorhies Ave., 
Sheepshead Bay. Brookl™. N. Y. 

FOR SALE— Kodascope Model C with car- 
rying case. Perfect condition. $30.00. 
Address Box 95. Tewksbury. Mass. 


Mever /-1. 5 lens: brand new: bargain; 

$123.00 cash: value $160.00. R. C. Smith. 

143 N. 14th Sl. East Orange. N. J. 

FOR SALE— «>-.. ft. square Bausch & Lomb 
.Aluminum Screen; very little used. Cost, 
$23.00. State your offer. Roy Nelson, 4 
\ iking Terrace. Worcester. Mass. 

FOR SALE— One Bell & Howell Projector 
equipped with Pilot light: perfect condi- 
tion: $115.00. Warren Sandage. 601 N. 
Lockwood .\ve., Chicago. 

HLMO CAMER-\. slighUy used, fully guar- 
anteed, with case, $125. .\lso one Double 
Speed Model, $130. Gillette Camera Stores, 
Inc., New York City. 

FILMO PROJECTOR. Demonstrator shop- 
worn, like new. $140. .Also one Variable 
X'oltage. used, fully guaranteed. $135. Gil- 
lette Camera Stores, Inc.- New York Citv 


35 mm. Give condition and price in com- 
municating with Ernest M. Reynolds. 165 
E. 191st St.. Cleveland. Ohio. 


CASH for amateur or professional cine 
apparatus. Send full description. Old 
apparatus taken in exchange. Bass Camera 
Company, 179 W. Madison St.. Chicago. 


IF YOU have 35 mm. negative of imusual 
and interesting subjects give full details 
in first letter to E. M. R.. 165 E. 191st St., 
Cleveland, Ohio. 

WISH TO BUT outright in 16 mm., in 25 
or 50 ft. lengths. "Southern Cross Flight," 
"Dole Pacific Flight," "Yankee Doodle 
Coast to Coast Flight." .\be Cohen. 1117 
11th St.. .\Itoona, Penna. 


DeVry and Eyemo Cameras. S4.00 per 
100 ft. roll, plus carrier charges. Shipped 
C.O.D. anywhere in the L. S. Educational 
Project-O FUm Co-, 129 West 2nd St.. Los 
.Angeles, Calif. 

FOOTBALL — Yale Harvard. Yale-Prince- 
ton. Yale-.Army. Exclusive scenes of all 
highlights, including every scoring play, 
many in slow-motion. 100 feet 16 mm.. $7.50 
each game. Phelpsfilms, Inc.. New Haven. 

WaO^'lE IM/«KER9 


specially designed for 
filmo. Complete with 
^ole leather case. 



omedy stars include: 
Felix the Cat 


We look forward with keen 
pleasure to another year of 
serving the amateur as a retail 
representative of the Bell & 
Howell equipment. 

The adaptation of Filmo 70 
for Kodacolor warrants now- 
even more than ever hefore 
our recommendation of that 
remarkable lens. 

The CuUen case being cus- 
tom built for the Filmo 70 is a 
fit companion to this efficient 
quality-made camera. It is de- 
signed with specific space to 
hold each item necessary for 
movie making, ready for im- 
mediate service. 

Dremophot is a recognized 
essential for constant perfec- 
tion of results. It justifies our 
insistent recommendation by 
the noticeably enhanced pic- 
tures it gives our customers 
who use it. 

The Radiant Screen com- 
bined with the new Filmo 250- 
watt projector we find to give 
the last word in clear and bril- 
liant home projection. 

The Filmo Library is a horn 
of plenty for entertainment 
and amusement in the many 
homes we serve through our 

New Yorkers will find us al- 
ways at their service with every- 
thing bearing the Filnio trade- 
mark and everything which in- 
creases the benefit of using this 



Maiden Lane - - New York 


(for Filmo 70) 

BLACK $20 

TAN 25 

Duplex Case for Filmo 70 
(with Duplex Finder at- 

BLACK $22 

TAN 28 


"One Motion" Screen 

22" x30" $17.50 

30"x40" 25.00 

36" X -iS" 30.00 


"The Spice of 

the Program" 
famous in theatres through- 



a/^m^'j^Mttt 1929 

CUR Announcement, in Decem- 
I ber, of the first synchronized 
talking movie outfit for ama- 
teur use in the home, has aroused the 
greatest enthusiasm among amateur 
movie makers. 

The announcement was regarded as 
doubly significant, coming from a 
pioneer manufacturer of movie equip- 
ment with the reputation for depend- 
ability w hich DeVry enjoys. 

The DeVry Cine-Tone is compact, 
dependable and as easily operated as 
the ordinary projector. It brings to 
your home the clear, flickerless movies 
projected by the famous DeVry Type 
G 16 mm. projector, with voice and 
sound accompaniment. 

The films are synchronized with the 
record; you present them at home just 
as they are presented in theatres. The 
Cine-Tone is complete with connec- 
tion for light socket operation and 
connection to your radio speaker. 

The unit, which is mounted com- 
plete on one base, may also be obtained 
in a beautiful case, a fine piece of fur- 
niture with a distinction of line and 
finish that lends grace in any surround- 
ings. The unit alone, or with cabinet, 
is available at prices which enable gen- 
eral enjoyment of this newest sensation 
in the amateur movie field. 

Cabinet comes in a variety of fin- 
ishes — prices on application. 

The first releases for DeVry Cine- 
Tone include a series of four presen- 
tations of varied popular appeal. They 

"LAUGH, CLOWN, LAUGH." the famous 
movie theme song based on the prologue to 
Pagliacci. showing the singer in characteristic 
costume and with interesting action. 







"INDIAN LOVE CALL." the appealing and 
popular number, by a singer in appropriate 

"TREES," a vocal setting of Joyce Kilmer's 
well known poem, with woodland scenes fad- 
ing in and out alongside. 

MAGGIE." a musical synchronization with 
an exceedingly artistic film enhanced by grace- 
ful fadeouts and exceptional photography. 

Additional new numbers will be an- 
nounced at frequent intervals. 

By all means see and hear the DeVry 
Cine-Tone. Call your dealer for a 
demonstration, or write us direct for 
complete information. 

Among the latest accessories in the 
DeVry line is the Rayflex screen. With 
a beaded surface affording clear pro- 
jection without distortion, the Rayflex 
is self-contained in a protecting case, 
set up for use or taken down in four 
or five seconds.The extraordinary con- 
venience of the Rayflex has won an im- 
mediate response from movie makers. 

The Standard Automatic Camera 
insures perfect movies from the start. 
Accommodates 100 feet of standard 35 
mm. film. The New Improved Type G 
16 mm. projector, compact, simple, 
dependable, provides clear, flickerless 
pictures of exceptional brilliance. 

Call on your nearest dealer for a 
demonstration of DeVry Cine-Tone. 
If he is not supplied, write us for a 

DeVry Corporation 

1111 Center St., Chicago, III., U. S. A. 
Dept. MMl 

The DcVry Type G 16 mm. Pro- 
jector is a marvel of compact sim- 
plicity. /Xmong its many features 
are the slop-on film shutter and the 
rapid geared re-wind. Pnceonly$95. 

The DeVry Standartl Automatic 
Camera, 35 mm., has rishtly 
earned its reputation as the per- 
sonal movie camera of "those who 
know cameras." Amateur in sim- 
plicity of operation, professional in 
results. Price $150. 

The Rayflex Screen provides a 
beaded screen surface which gives 
an undistorted picture when viewed 
from any angle. Screen surface 
22' X 30"— $25; 30" x 40"— $J0; 
39" X 52"— $35. 



WIOVIC IM /« ■« E R » 


THIS Photoplay Number of MoviE 
Makers offers an excellent opportunity 
to suggest a project that has greatly occupied the atten- 
tion of the League's directors for nearly two years — 
the Cine Salon. 

Movie making is an art with a fine following of 
exceptionally capable and intelli- 
gent amateurs. The work of these 
amateurs has been shown to a very 
limited public that is chosen more 
by accident than by intention al- 
though we all confess our sincere 
indebtedness to Photoplay Mag- 
azine for its two amateur contests 
and for the resultant presentation 
of amateur films to professional 

The Amateur Cinema League 
should, as soon as possible, under- 
take an international annual ex- 
hibition of amateur films to be 
shown in a selected city from year 
to year, this exhibition to be fol- 
lowed by a tour of the world by the 
winning films. This would be the 
Cine Salon. 

Such an international exhibition 
would include films of all categories 
— personal films, travel films, ab- 
stract films, film documents, film stories and photo- 
plays. It would include films of all widths. Given un- 
der the supervision of the Amateur Cinema League, it 
would provide the ideal audience of intelligent appre- 
ciation for amateur accomplishment. Exhibition 


AFTER two years of ser- 
vice with the A mateur 
Cinema League as its Tech- 
nical Consultant and as 
Technical Editor of Movie 
Makers, Mr. Walter D. 
Kerst leaves the League 
family January 1 to enter 
the commercial side of the 
amateur movement. Our 
congratulations to Mr. 
Kerst's new associates on 
having his fine cooperation, 
our deep regret at his leav- 
ing us and our best wishes to 
him for a happy and success- 
ful future. 

medallists would be assured of international 
Between the present and this Cine Salon of the future 
lies much planning, much work, much cooperation. 
The Cine Salon must be preceded by regional and na- 
tional elimination exhibitions and contests. To the in- 
ternational gathering should come 
only the world's best amateur films. 
A practical beginning is suggest- 
ed. Let amateurs band themselves 
together in all localities. Then 
these groups can build toward the 
Cine Salon. Local contests can be 
held, and local awards can be made. 
Later can come state, regional and 
national bodies and eventually the 
international showing. 

About one hundred of these or- 
ganized groups are now in existence 
and several have held film contests. 
The Hartford. Conn.. Amateur 
Movie Club, of which the League's 
president. Hiram Percy Maxim, is 
a member, has led off by offering an 
annual cup for the winning film. 
The trail has been blazed. 

Take the first step — each of you 
who read this. Join your local 
amateur movie club or create one, if 
none exists. Let the League help you do this. Let us 
make this a year of definite progress toward that most 
important amateur requisite — the International Cine 
Salon. As with nearly every League effort, the begin- 
ning should come from our members. 

A Word About the Amateur Cinema League 

TpHE Amateur Cinema League is the international organization of movie 
-•■ amateurs founded, in 1926, to serve the amateurs of the world and to render 
effective the amateur's contribution to cinematography as an art and as a human 
recreation. The League spreads over fifty countries of the world. It offers a 
technical consulting service: it offers a photoplay consulting service; it offers a 
club consulting and organizing service; it conducts a film exchange for amateur 
clubs. Movie Makers is its official publication and is owned by the League. The 
directors listed below are a sufficient warrant of the high type of our association 
Your membership is invited, if you are not already one of us. 

Amateur Cinema League, Inc., Directors 



Hartford, Conn. 

Architect, of New York City 

sident of the National 
3ciation of Broadcaster^ 


, Board of Directors 
Hudson Motor Car Company 



1711 Park St., Hartford, Conn 

Director of Recreation, 
Russell Sage Foundation 

Scientist, of Litchfield, Conn 

30 E. 42nd St., New York City 


Manager of Personnel and Training 

Standard Oil Co. of N. J. 

Managing Director 
ROY W. WINTON, New York Ci 

Address inquiries to AMATEUR CINEMA LEAGUE, Inc. 105 West Afhn Street 

New York, New York 

J^.^X'^^R-*' 1929 

!•■ O % I I :M /« ■& E R 9 


How Experimenters, in Circumventing Production Difficulties, Have Achieved 
the Greatest Cinematic Advance Since "The Cabinet of Dr. Caligari. " 

A ?\ ole by the Editor. 

TN this first issue of Movie Makers 
•*■ dedicated to the amateur photo- 
play, it is particularly fitting that 
there should be an account of the ori- 
gin of the unique production tech- 
nique employed by J. S. Watson, Jr., 
and Melville Webber of Rochester, 
N. Y., in the astounding amateur film, 
"The Fall of the House of Usher," 
which Mr. Wilton Barrett. Secretary 
of the National Board of Review, has 
declared to represent the greatest ad- 
vance made in the progress of the 
motion picture as an independent art 
since that epochal film. "The Cabinet 
of Dr. Caligari," barring no other 
photoplay produced by American or 
European professionals. Incidentally, 
when screened for the National Board 
of Review by the Amateur Cinema 
League it uon ma for mention as an 
exceptional photoplay, an honor 
awarded only the world's finest 
cinematic achievements. 

"The Fall of the House of 
Usher" not only represents a 
new cinema technique but it is 
also unique in that it does not at- 
tempt to tell Foe's story in de- 
tail, rather to invoke in its audi- 
ences the esthetic impressions 
and moods which the tale cre- 
ates in its readers. This revolu- 
tionary approach to the cinema 
opens a fascinating field for 
further pioneering. Fortified 

As Disclosed By 
J. S. Watson, Jr. 

with the new scientific instruments 
which have recently been devised for 
the detection and recording of emo- 
tional reactions, the amateur producer 
may now truly be said to face a new 
world for cinematic experimentation 
in translating such reactions into film. 
Properly motivated by medical au- 
thority films of this nature may even 
prove to have a tremendous psycho- 
logical significance. From any view- 
point "The Fall of the House of 
Usher" represents a forecast of pos- 
sibilities which are amazing. 


N order to use the cinema as a 
means of expression the amateur 
must be able to exercise control 
over his pictures; and the more con- 
trol the better. The amateur who tries 
to compete with the professional pro- 
ducer on his own ground is licked 

from the start by lamps, scenery, and 
other expensive methods of control 
which will not be available in any- 
thing like the necessary profusion. 

However, by freely giving up some- 
thing which you probably cannot have 
anyway, it is often possible to gain 
an important advantage in another de- 
partment. Thus the animated cartoon 
maker, who gives up nearly every- 
thing which we associate with photog- 
raphy, gains the only perfect control 
which the motion picture as an art 
medium has to offer. 

The professional producer buys his 
much less intimate control over the 
much more complicated and ambi- 
tious studio photodrama at an average 
cost of $100,000 a picture. He is 
faced, however, with a problem which 
is certainly not an artistic one and 
need not concern the amateur : namely, 
the problem of insuring returns on 
the investment. Fifteen years of happy 
experience have given the producers 
a number of fixed ideas on this sub- 
ject, the two most expensive 
being (a) that stars are indis- 
pensable, and (b) that the stars 
nmst act out a story in what we 
may call realistic surroundings. 
I will not argue that story in- 
terest is unnecessary. It has 
been found to be so in music 
and poetry and vaudeville and 
in Mr. Griffith's pictures, and 
the chances are that it is un- 
necessary in the cinema. How- 
ever, a story is easy enough to 
secure and the amateur can use 
one if it helps him to think. 

ve. A Kalediscope and Slo 
for Perspective Dis 


Motion Exterior Shot taken at f-3.5 with Sunlight and ReSectf 
Right. The Camera Has Revolved on I ts Axis Until the Figun 
Taken at a Lens Stop of /-I.I. 

Left. Illustrating the Use of a Short Focus 
re in Line Vertically Instead of Horizontally; 

JAIWaj-^R-*' 1929 

What he cannot manage are the real- 
istic settings, the drawing rooms a 
hundred feet long, lighted with 4,000 

Lately, it is true, trick work has 
been used increasingly to produce at 
less cost many of the effects of size 
and richness which the public is sup- 
posed to demand. But here, too, the 
insistence on realism puts this sort of 
trick work out of the amateur's reach. 
Enormous patience and very intricate 
and high-priced machinery is used to 
blend a background of snow moun- 
tains into a foreground of action so 
that the scene will look real, or to 
show "Our Gang" riding through 
Paris on a bus. The pleasure of recog- 
nizing a place and saying to oneself, 
"It is just like being there," is put 
ahead of tlie simpler, more direct 
pleasures of which the cinema is pre- 
eminently capable. And so much 
energy is expended on this sterile la- 
bor, and so much footage is devoted 
to its results, that the real flow and 
impact of the cinema comes through 
only between irritating interruptions. 

My point is that if the insistence on 
the mere actuality can once be given 
up, if a formula, a style, can be 
accepted in its place, the greatest 
cause of expense in making studio 
pictures and the greatest obstacle to 
the cinematic control of motion is 
immediately done away with. Back- 
grounds and properties can be of any 
convenient size or material and can 
be made to take part with the actors 
in the motion of the scene, accom- 
plishment of which in the realistic 
style, requires trucking, and Akeley, 
and double printing shots at fabulous 
cost. Realness can be used, too, but 
as an element rather than a basic prin- 
ciple, and depth and perspective can 
be made even more striking than 
formerly. The trick work by which 
such stylized scenes are put together 
can be done without much expense by 
any camera which will run the film 
safely backward and forward and still 
keep in register. The free control over 
timing of events and over speed and 

direction of movement offers the 
amateur a machine-art which should 
be capable of giving real pleasure. 

The addition of sound svnchroniza- 
lion can be regarded only as a po- 
tential nmltiplication of the force of 
the movies. It is not as though the 
silent drama had ever been silent! 
For years the theater patron has been 
deafened by organs, wind machiaes. 

Illiislrating the Photographic Quality of the 

and imitation airplane motors. At 
best this noise has been merely an 
accompaniment rather than a real part 
of the performance. Now mechanical 
exactness begins to make possible a 
counterpoint, as the Russians would 
say, instead of a harmony. Talking 
pictures, conceived as reproductions 
of the stage, should not discourage 
anyone who can look forward to the 
time when the voices will be used 
against the action as well as with it. 

The Setting, left. Simple to the Verge of Crudity, Is 
Envestured with Atmospheric Mysticism by the Use 

.And the fact that already dance scenes 
no longer look ridiculous in the pic- 
tures, now that music keeps time for 
them, is a reason for congratulations. 

These reflections on the movies 
grow out of two years of spare-time 
work which Mr. Melville Webber and 
I put in. trying to make a film version 
of Poe's story. The Fall of the House 
of Usher. We did our work mainly 
in an empty stable using only twelve 
kilowatts of direct current for light- 
ing. At first we hoped to take the 
picture in a perfectly straight manner, 
using painted scenery, but we imme- 
diately ran into so much trouble that 
trick work had to be resorted to. After 
the first six months our motto became 
"hundreds (several) for film, and 
not one cent for settings." 

Film was used up in large quanti- 
ties because the only way to find out 
how a composite scene would look 
was to take it. Very few of the sev- 
entv scenes in our 1.200 foot film have 
been taken less than three times. The 
unfortunate actors had to do nearly 
all their acting on a count of seconds. 
Inevitably they made mistakes and so 
did the group of people operating the 
camera, shutter, masks, truck and 
optical mechanisms. When any com- 
ponent of a composite scene went 
wrong the whole scene had to be done 
over. In view of all this trouble I 
have since wondered if long com- 
posite scenes are not a luxury. The 
Germans use the long scene in which 
the camera travels from room to room. 
The Russians get almost as good an 
effect by very rapid cutting of sta- 
tionary flashes. Recently a spare time 
film was released called. The Life and 
Death of a Hollywood Extra (dis- 
cussed further elsewhere in this 
issue) which used a technique some- 
what like the Russian and even more 
remote from professional practise 
than our own. This film was made 
for ninety-seven dollars with one 400- 
watt lamp. The actors were photo- 
graphed entirely in semi-close-up and 
long shots were all made on very 

(Continued on page 887) 





1 1 










iMowiE iM /m 1^ ■: ac s 




A Simplified Guide for the Beginner in Photoplay Production 

orate production methods 
used by professionals, cine- 
matic theory and even amateur experi- 
ments in camera treatment and 
cinematic esthetics tend to set up bar- 
riers to the realization that a photo- 
play is nothing more nor less than a 
story told in film. It is essentially a 
narrative expressed through a camera 
capable of recording objects in mo- 
tion and is not different in kind from 
the short story in the fifth grade 
school reader, following, in fact, the 
same form and structure. 

However, the medium used to tell 
the story, the motion picture camera, 
has particular capacities and par- 
ticular limitations. These capacities 
and limitations give film-story produc- 
tion its technique. Nothing that does 
not logically originate because of 
these capacities or limitations, or be- 
cause of special amateur conditions, 
should be considered. 

This technique can become compli- 
cated. Amateur groups working to 
develop the artistic possibilities of the 
camera have pursued various lines of 
esthetic reasoning, originating cine- 
matic theory as they went along. But 
the amateur first attempting the use of 
his camera to record a film-story will 
avoid a sudden leap into the midst of 
this process. He will begin in the sim- 

By Arthur L, Gale 

plest terms. He is bound to turn first 
to the professional photoplay as a 
model and here he has an excellent 
guide in elementary production tech- 
nique and a doubtful one in story 
choice. If he has passed the initial 
hurdles he will even cast aside the pro- 
fessional product as a preceptor in 
technique, with the exception of a few 
photoplays and sequences such as 
those noted in "Critical Focusing" in 
Movie Makers. Such amateurs are 
truly "on their own" and are making 
the finest contributions to the progress 
of the motion picture as a medium of 

In this summary of production steps 
let us begin — like these advanced 
amateurs — by casting aside all the 
ideas we have acquired from the pro- 
fessional movies and all doctrine and 
theory that we have read. But — unlike 
advanced amateurs — let us borrow 
freely from the professional photo- 
play where its lendings will help us. 
Let us, at the outset, be honest with 
ourselves. Are we seeking to develop 
new cinematic technique and to en- 
large the horizon of the motion pic- 
ture as an art form; are we making a 
serious attempt at artistic perfection 
in the translation of a story into mo- 
tion pictures; or are we filming a 

story for the amusement of ourselves 
and our friends? Remembering that 
this is our initial film-story produc- 
tion, we are in all probability doing 
the last. However, we want to do it 
with a minimum of wasted effort and 
film. We want to do it as well as pos- 
sible, making fullest use of the camera 
as well as any additional equipment 
we may own; finally, we want to be 
able to screen the resulting picture 
years hence without feeling that we 
had better have left the film-story idea 

The first question that confronts the 
amateur, as he considers the produc- 
tion of his initial film-story, is where 
to obtain a usable scenario. MoviE 
Makers is answering this question, in 
part, by the periodic publication of 
scenarios designed for 100 foot film 
lengths and arranged for simple pro- 
duction. However, the amateur has 
special settings or properties that he 
wants to include. A country home, for 
example, a yacht, perhaps a mining 
camp is at hand. It is obviously im- 
possible for Movie Makers to print 
enough of these short scripts to fill 
the individual needs of every amateur. 

The best answer to this initial prob- 
lem is to write the scenario yourself. 
At first it appears a difficult task that 
would require originality of author- 
ship and some mysterious technique 
held only by professional scenarists. 

J/%.^(/%R'« 1929 

This is not the case. All liie story 
material that has been published is 
yours for adaptation. The chance that 
you are planning any commercializa- 
tion of the fmisihed product is remote 
and you will violate no copyright laws 
unless you do. Should this considera- 
tion arise, there are thousands of story 
motifs that have never been copy- 
righted. In tlie choice of this material 
to fit your needs and facilities, elimi- 
nate in general only the professional 
photoplay. The fact that 
narratives used in profes- 
sional photoplays have 
been filmed with the com- 
plex equipment of the pro- 
fessional studio will han- 
dicap you. at the outset, 
for you will have in mind 
the effects achieved with 
the use of complex profes- 
sional equipment and you 
will find vour own efforts 
to reproduce these effects 
confused in your effort to 
reproduce the equipment. 
As you get on further in 
photoplay technique you 
will find this precise thing 
a great stimulus and you 
will set yourself the task 
of achieving the same 
technical results with an 
economy of equipment 
that the professional has 
achieved with his exten- 
sive facilities. 

Out of the wealth of 
material open to you in 
magazines and general lit- 
erature you can easily se- 
lect a story, an incident in 
a longer narrative, or 
merely an idea that seems 
to fit with the locations, 
properties and characters 
that are readily available. 
The story idea must be Makeup, a 
straightforward and fairly 
simple, involving few 
chara<ters. and logically self-con- 
tained. ^ on will have a great many 
suggestions from friends to try a more 
complicated story and pleas will come 
from members of your cast to work 
out ideas featuring their particular 
histrionic ability. Take advantage of 
these suggestions if they fit with other 
facilities but do not let anything ham- 
per you in the choice of a simple tale 
that can be told w-ith the facilities at 

Having chosen a story idea that can 
be filmed in an afternoon or a day of 
shooting, write a brief synopsis of it, 
working in the characters that you can 
choose from among your friends and 
the locations that you can use. After 
writing your synopsis, prepare vour 

scenario. I'liis hij;h-soun(ling term is 
nothing more tlian the di\ ision of the 
action into numbered scenes so that 
each scene will represent a certain 
amount of action in a given location, 
capable of being filmed bv the camera 
in one position. W hen the action calls 
for a diflerent camera position the 
scene number will be changed. Under 
each scene, number the position of tlie 
camera, the setting, the characters and 
the action. All must be set down. Ver\ 
important, in describing the camera's 


position, is to set down its approxi- 
mate distance from the subject, be- 
cause this determines how much can 
be included in the scene or how much 
emphasis will be given a certain detail 
by a closer position and consequent 
enlargement in projection. To de- 
scribe this camera distance the terms 
"close-up," "semi-close-up," "me- 
dium shot," "semi-long shot" and 
"long shot" are generally used. These 
terms are not absolutes and in profes- 
sional productions directors interpret 
them as they see fit. As you write the 
scenario, visualize the scenes to the 
best of your ability and use the 
camera distance that seems most fit- 
ting from your visualization. In pro- 
duction, after the rehearsals of the 

action, you can judge the distance 
more accurately. Subject to this and 
a few other variations, your filming 
should follow your scenario very 
closely if you are to get anywhere in 
production and if you are to keep film 
cost down. For this reason your 
scenario should be planned with great 
care and prepared in such a manner 
that it can be followed in filming. 
The fewer loose ends you leave in the 
scenario the better will be your fin- 
ished product in the film. 

The scenarization pro- 
cess is best told by illus- 
tration. We want to film 
this incident: 

A man leaving hurried- 
ly for his office in the 
morning comes out of the 
front door of his home 
followed by his wife. 
After he kisses her she 
gives him a letter with the 
injunction to be sure to 
mail it as she wants a 
friend to visit them for the 
week-end. The husband is 
absent-minded but takes 
the letter, promising to 
mail it. As he leaves the 
house a friend drives past 
who asks the husband to 
ride to the city. Getting 
into the car, the husband 
drops the letter in the 
street. Around this lost 
letter is to be built the rest 
of the plot. 

Conceivably, this ac- 
tion, all taking place in 
the same general locale, 
could be filmed with the 
camera far enough away 
to include everything that 
happens. If this were to 
be done details would be 
lost and their dramatic 
value would not be em- 
be Fineart phasized with the result 
that we should see on the 
screen a long and tiresome 
scene with little dramatic interest and 
we should be puzzled to discover just 
what it was all about. If we tell this 
incident witli meaning, using the tech- 
nique of the motion picture to do it, 
we should divide it into scenes — that 
is, we should "scenarize" it — some- 
thing like this: 

Scene 1. Medium shot. Porch of a 
suburban home. The front door 
of the house in middle of scene. 
Door opens and a man comes out. 
Man's manner is abstracted as he 
walks toward camera. His wife 
follows him, one hand held be- 
hind her back, and he turns and 
kisses her in absent-minded fash- 
ion; he starts to leave. She 
catches his coat sleeve and he 

«■ O «' ■ E »■ /« K E R 9 


stops. CUT. 

Scene 2. Semi-close-up. 
Man and wife in front 
of door. Wife has one 
hand on man's coat 
sleeve and in other hand 
holds a letter which she 
has been hiding behind 
her in previous scene. 
She lifts letter and 
speaks. CUT. 
Title 1. Spoken. "I want j 

Ruth to come down 
for the week - end. 
Now don't forget to 
mail this." 
Scene 3. Semi-close-up. 
Same as Scene 2. Wife 
gives letter to husband, 
who nods absently and puts it in 
his pocket. CUT. 
Scene 4. Semi-long shot. Front of 
house including part of street. 
Husband comes down walk and 
wife watches him from porch. 
As she turns and enters house a 
car drives into scene and slows 
down in front of house. Driver 
of car waves hand to husband. 
Husband hurries to car and starts 
to enter it. CUT. 
Scene 5. Medium Shot. Husband 
enters car. As he opens door, let- 
ter drops from his pocket. He 
does not notice this as he is talk- 
ing with driver. CUT. 
Scene 6. Close-up. Letter lying on 
pavement at edge of curb. Run- 
ning board and part of man's feet 
in scene. Feet enter car and car 
moves away. Letter seen left 
alone on pavement. CUT. 
Scene 7. Semi-long shot. Car drives 

away into distance. CUT. 

Now we have produced a working 

script. Each scene conveys its idea 

and all of the action we have included 

in each scene could be photographed 

from the position that we have as- 
signed to the camera. At the same time 
we have divided the action so that the 
camera can be moved into a new posi- 
tion best to register the idea. With a 
semi-close-up we first called attention 
to the letter, which is important in 
the later plot; then with a close-up 
of it lying on the pavement as the car 
moved away we emphatically in- 
formed the audience that the letter had 
been lost. We have given dramatic 
emphasis and meaning to this whole 
incident as that incident will appear 
on the screen. Nobody can fail to real- 
ize exactly what is happening. 

In scenarizing your first film-story 
you will find a constant tendency to 
place the camera too far away to reg- 
ister important details. A good rule 
to follow is to place the camera as 
close as you can, not excluding any of 
the essential action of a scene. With 
the exception of close-ups and semi- 
close-ups you will want all of a given 
actor in the frame, but do not move 

Photographs by Kmograms 


The Three Major Camera Positions Are Illustrated 
in These Views of the Bridge in the Gardens of the 

the camera so far away as to get only 
confusion in an effort to show general 
atmosphere. If atmosphere must be 
registered, take a separate shot to do 
it and one that does not involve action 
which is essential in telling your 

It is a very simple matter to carry 
this scenario further. We have already 
made the beginning and the rest will 
be built up in the same way following 
the ordinary rules of plot structure. 
Given a proper story, the scenario will 
build itself step by step without 

More scenario details can be noted 
in each portion of the working script. 
The footage of each scene may be in- 
dicated, if film economy is to be en- 
forced rigidly. If the production is 
fairly long and if many properties 
are to be used, a marginal notation of 

properties, characters and costumes 
for each scene may be made to avoid 
confusion. Time will be saved and ac- 
tors kept together better if all the 
scenes on one set or on one location 
are filmed one after another without 
reference to where they will fit in the 
finished picture. To make this locale 
filming easier, you can cut up the 
scenario and group all of the scenes 
requiring the same set or location. 

You will find, as you write your 
scenario, a tendency to tell the story 
in titles and to illustrate it with mo- 
tion pictures. Clamp down hard on 
this right at the beginning. Avoid 
the use of long explanatory titles. 
Whenever you write a title into the 
script, stop and ask yourself if it 
could not be avoided and the idea 
expressed by a scene or sequence 
of scenes. Long titles will bore your 
audience and destroy the cinematic 
nature of your film-story. It will not 
be a motion picture but a word-story 
with a few motion pictures thrown in. 
When a title is absolutely 
necessary and it can be writ- 
ten briefly, it will add to the 
film story. If you omit an 
absolutely necessary title, 
your results will suffer. Titles 
are like salt; too many of 
them spoil the dish and too 
few of them make it tasteless. 
There is an excellent dis- 
cussion of this problem on 
page 309 of the May, 1928, 
issue of Movie Makers. 

In the illustration that we 
have used, other camera 
treatments are open to you. 
Scene 7 might end with a 
fade-out indicating a lapse of 
time or a complete shift of 
scene or idea. From Scene 1 
to Scene 2 you might use a 
{Continued on page 881) 

j/«mnj>%H'*' 1939 


A Confess/on of the Cinematic Crimes of Certain Continental Celebrities 

By Barclay H. Warburton, Jr. 

To Colonel Roy \^ . Winton, 
Managing Director. 
Amateur Cinema League. 
New York. \. Y., U. S. A. 
Dear Rov : 

This Summer we made a picture. 
At Antibes. That's a place down in 
the south of France where you're not 
supposed to go in Summer, any more 
than to Palm Beach. Anyhow, its a 
swell place and you could make lots 
more pictures there — but let that go. 

Gosh, what a rest I was having on a 
nice rock when someone said — "pic- 
ture!"' I know just how Moran felt 
when he said to Mack. "What did you 
have to bring that up for?" Well, I 
had to listen. This is what I heard, 
set down fragmentarily. 

"This is the loveliest place in 
Europe. . .and we could get Michael 
Arlen to write the story ... Beatrice 
Lillie would be in it... and Grace 
Moore... and Elsa Maxwell. . .Ben 
Finney would direct; he's made doz- 
ens of pictures. . .Rex Ingram and 
Allie Macintosh would send us over 
camera men. . .and think of the beau- 
tiful scenery and all the lovely women 
we could get to play extras. . .and 
Buzzv Warburton could cut it for us 
. . .GEE. we've got to make a movie. 
JUST THINK of the fun it would 

YEAH! The fun it would be! I 
could hardly wait. Here I was want- 
ing to rest or something and those 
dames wanted to make a movie! 

Tiiis menial giief of mine meant 
nothing. They had the idea and that 
was all. Arlen agreed to write a story. 
What else could he do? Finney said 
he'd direct (so did everybody else). 
I said I'd be delighted to do what I 
could (having decided to leave for 
Paris or Saigon, China, that night). 
Miss Lillie, who is so sweet she can 
never say no, acquiesced quite placid- 
ly to the idea of playing the lead. 
And, our gates were besieged by 
blor)des who wanted a job in the mob 
scenes'. I almost forgot Miss Maxwell, 
who wanted nothin" better than to be 

author, producer, distributor, title 
writer, supervisor, cutter, technical 
director and play six parts. 

And. gosh what a plot! Maybe you 
don't think we were lucky to get some- 
bodv like Arlen to write it. Original? 




1^^^ e 





You ain't heard nothing. Like this — a 
lady (Miss Maxwell I . alias Mrs. 
Sodar, ran a finishing school for girls. 
Once she had a son, lost since birth, 
name of Whiskey. He had a birth 
mark on his chest, too; Ritz Bar, it 
was. And this boy Whiskey had de- 
veloped into a sailor, who, when 
ashore, was looking for his Mammy. 
Maybe somebody else's. I can't be 
too sure. 

Anyhow, all the boys used to come 
to Dame Sodar's School to watch the 
girls get finished and make whoopee. 
Right in the middle of one of these, 
the old girl's Sonny Boy arrives look- 
ing for his Ma. All he gets is the air, 
first from Maud, the Butler (Miss 
Lillie, clothed in a waiter's borrowed 
dress suit) and by Neck Piece (Ben 

Finney I, the janitor. ^ ou see, Roy, 
the director really did work. 

Well, Whiskey lands on his neck 
outside, but the old girl gets a look at 
him and spots the birthmark. Oh Boy, 
how she screams! But ISeck Piece 
doesn't care. He sees his duty and 
he's going to do it, which means he 
carries the poor sailor to the nearest 
lake and chucks him in. And what do 
you think? Just as his .Ma arrives on 
the scene the kid is hauling himself 
out to dry, and the birthmark has 
washed off. Tough — just another 
hoax. But he gets his — a push in the 
face back into the lake. 

\^'ait! And you think Arlen didn't 
know where to go from there — a chap 
who had sense enough to quit being 
an Armenian and become British? 
Now, Roy! Dragging her trousers, 
arrives Maud the Butler looking for 
posies and finds in the woods a great 
big thing. Babe White, who when rest- 
ing is an explorer, more or less, and 
who is none other than the original 
one and only lost Whiskey, the heir 
himself. He's restored to his Mamma, 
the Finisher, and. what's more, he is 
proven to be the real thing because 
the birthmark won't come off, not even 
when champagne is used as a depila- 

And so all the little girl pupils, 
completely finished by this time, pick 
up with all the nice young men of the 
whoopee, fade out, and everybody is 
happy — except me. All I have to do 
now is cut this masterpiece and make 
a King Vidor job of it, and, besides, 
Ralph Spence is busy writing titles 
for other people. 

Anyhow", I hope you see it. Myself, 
I've never seen a picture conceived as 
this one was, executed as this one was, 
Finney shot thirty-six scenes in two 
hours. Try and do it with a gang like 
ours. And, when it came time for me 
even without titles. Come on, you 
amateurs, try or tie that if you can. 

I never will, Roy. 

Cannes, France. 



Glimpses Into the Workshops of Amateur Producing Group. 

By Arthur L. Gale 


CAMERAS, lighting equipment, 
special facilities and acces- 
sories owned by amateur 
photoplay producing groups, or avail- 
able to tlipm through their members 
owning these things, range from one 
camera and a pair of reflectors, pos- 
sessed by the small unit 
of film-story producers, 
to a complete studio 
equipment, equivalent 
in every way to that 
professionals use, 
which is leased by the 
Fineart Films Produc- 
tions, an amateur group 
in Sydney, Australia. 

Not every club has 
the means to secure fa- 
cilities like those of the 
Australian amateurs 
nor the organization to 
make proper use of 
them if such romantic 
good luck fell to their 
lot. Indeed, compli- 
cated equipment, carry- 
ing with it the overhead 
ol many operating 
specialists, would possibly stifle a 
deal of amateur experiment: amateurs 
would also be faced with the difficul- 
ties and frequent inefficiencies of large 
staff correlation which too often beset 
the professional producer. 

Somewhere between these two ex- 
tremes there is an average represented 
by the reasonable amount of equip- 
ment that a well-organized producing 
group could hope to own or to ha\e 
available and which it could use with 
properly efficient results. A brief 

survey of the equipment and facilities 
at the disposal of representative ama- 
teur clubs will give us, perhaps, some 
"iiide to what this average should lie. 

These groups and clubs make a very 
respectable showing and one of which 
amateur producers may be proud. It 
is true, of course, that an adequate and 
even a ver)' superior film story can be 
produced with nothing but an amateur 
camera, ingenuity and detailed care. 
Special facilities, however, will en- 
large enormously the scope of produc- 
tion, will smooth out many problems 
and uill make motion picture expres- 
sion mucli more flexible and re- 

J. V. Martindale, of New York City, 
who, with Frank Packard, forms Mar- 
kard Pictures, producers of Narrow 
Paths, had his home wired with outlets 
in many rooms for arc lights and for 
banks of incandescents which makes 
possible turning them into small 
studios on a moment's 
notice. These two gen- 
tlemen together own a 
wide range of lighting 
equipment so that ef- 
fects may be skilfully 
controlled. Because of 
this ready control of 
lighting sources they 
work almost entirely 
with artificial illumina- 
tion. They use two 
cameras on every scene 
and in some sequences 
keep both cameras sta- 
tionary, switching from 
a medium shot in one 
scene to a close-up in 
another by means of a 
telephoto lens on one 
camera which is start- 
^ '^ ed before the other, 

equipped with an ordinary lens, has 
been stopped. This insures absolutely 
smooth continuity without a break in 
the action. 

The La Jolla (California) Cinema 
League uses two 16mm. cameras fitted 
with an /. 3.5 and an /. 1.9 lens, re- 
volving on tilting tripod heads. For 
interior lighting they are equipped 
with three arcs, a 500 watt spotlight 
and an 800 watt flood-light. This club, 
in order to secure additional control 
(Continued on page 894) 


MMl»IW/*Mf%- 1929 


Enter Erie 

0\ F,R fifty amateur fans re- 
cently gathered in Erie, Penn., 
for tiie first meeting of an 
amateur movie club. Many amateurs 
from nearby towns attended the meet- 
ing. The program featured the screen- 
ing of personal and topical films taken 
by A. H. \ick, a report by F. M. 
Carlson on amateur club activities 
throughout the country, a demonstra- 
tion of natural color films by Kelly 
and Green and an illustrated talk on 
color photography by Francis Nagor- 
ski. Opportunity was provided for a 
general discussion of amateur movie 
problems. Plans have already been 
made for a second gathering. The 
Erie amateurs have the Leagues con- 
gratulations on a well-managed or- 
ganization meeting and we may ex- 
pect valuable program suggestions 
from this enthusiastic group. 

Extensive Contest 

A N exten.sive local amateur film 
**• contest has been scheduled by 
the Motion Picture 
Club of New Haven, 
Conn. Hiram Percy 
Maxim, president of the 
Amateur Cinema 
League; Everett \'. 
Meeks, dean of the 
School of Fine Arts 
of Yale University; 
Alexander Dean, of the 
Drama Department of 
the same university, 
and Roy \^ . Winton. 
managing director of 
the Amateur Cinema 
League, have been an- 
nounced as judges, a 
fifth to be chosen later 
from New Haven. The 
contest will include awards for all 
types of amateur movie films and will 
represent an attempt by the New 
Haven Club to discover local amateur 
movie standards for all phases of 
filming. Thorough plans have been 
laid and many contributions are 

The program of the club's last 
meeting included the screening of 
eight hundred feel of airplane shots 
taken in the vicinity of New Haven 
by Dr. James P. Pigott, a record of 
mountain climbing in the Canadian 
Rockies, filmed by Professor Donald 
Cooksey of Yale University, a reel 
following the processes of the prep- 
aration of maple sugar, taken by 
Irving Tier, short natural color films, 
taken by club members and And How, 
now so generally known to readers of 


Nezvs of Group Filming 

Edited by Arthur L. Gale 


The Remaining Population of Virginia City. Nevada. 

Turned Out to Enact Black Dm. a Photoplay Devised 

by Water Stevens of Reno. Shown Above with the 

Historic Stagecoach. 

this department. The fact that this 
program, with the exception of And 
How, was a complete club production 
shows that New Haven amateurs are 
not finding it difficult to keep their 
movie cameras busy. 

Got Spot News 

' I 'HE premiere of The Fast Male, 
■^ production of the Stanford 
Studios, the amateur movie club of 
Stanford LIniversity, will be held in 
the Stanford assembly hall at Palo 
Alto. Calif., January ninth. Among 
the siiort subjects produced recently 
by the club to be included in the pro- 
gram is a complete record of Her- 
bert Hoover's activities on the campus 
during the presidential campaign, 
among which are his acceptance cere- 
monies and his own vote casting. 

Days of '49 

|^\ ER three thousand feet of 16 
^~^ mm. film have already been shot 
in filming Black Dirt, production of 
\^'alter Stevens in Reno, Nevada. The 
.scenario of this amateur super-feature, 
based on mining days in Virginia 
City, Nevada, was written by Walter 
Stevens with the assistance of Edwin 
Duer and Charles Carter. From fifty 
to seventy-five extras were used in 
dance-hall interiors. No effort has 
been spared to catch the spirit and 
secure a veracious reproduction of 
pioneer days. Three cameras are be- 
ing used. Mr. Stevens, aided by 
Edwin Duer, is directing the produc- 
tion: Ted Morrill and Philip Weber 
have charge of the camera work; 
Charles Carter and Edwin Semenza 
are responsible for settings and will 
title the film; Edwin Williams man- 
ages the production. Included in the 
large cast are: Wilbur Hannibal, 
Harry McNamara, Ellen Carmody, 
Alice Couch and Rose Monahan. One 
of the scenes to be 
filmed calls for the 
burning of an old mill 
during a snowstorm. 


AT a recent meeting 
of the Movie Di- 
vision of the Cleveland, 
Ohio, Photographic So- 
ciety, harrow Paths. 
production of Markard 
Pictures, was screened, 
meeting; with an enthu- 
siastic reception. On 
the same program a 
reel of microscopic in- 
sect studies filmed by 
Charles Williams, a 
clul) member, was projected. 

Lighting Studies 

CAMERAS are already clicking in 
the production of a four hundred 
foot 16 mm. film story selected by 
the Flower City Amateur Movie Club 
of Rochester, N. Y., under the work- 
ing title. Dead or Alive, as their con- 
tribution to Photoplay Magazine's 
amateur movie contest. Over half of 
the scenario is based on an ingenious 
plot dealing with an underworld 
gang; it calls for interior scenes and 
the Flower City Club will attempt new 
departures in the control of lighting 
effects. Particular effort will be made 
to secure a smooth continuity and a 
complete translation into terms of the 
motion picture. 

MOWHC IM /% 1^ E K a» 


SHOOTING is about half done on 
Three Episodes, the present pro- 
duction of the Foto-Cine Productions 
of Stockton, Cal. Sundays are en- 
tirely devoted to production work by 
the whole club. In order to facilitate 
the gathering of the technical staff and 
the cast on location, blank forms have 
been prepared to be mailed by the 
secretary to the various members 
needed at a given time. Those 
responsible for costumes and 
properties are notified in the 
same way. The club has dis- 
covered that the considerable 
confusion of verbal notice is 
thus avoided and that a great 
deal of time is saved. It has 
also decided to eliminate all 
social functions during produc- 
tion and to hold an annual so- 
cial affair of some kind instead. 

Will Set Mark 

ger, the first effort of the 
Rochester, N. Y., Cinema Club, 
is nearly completed and the club is 
planning to begin work on a scena- 
rio by Richardson Murphy. Interior 
scenes of The Lugger were taken in a 
studio in the Eastman Theatre. De- 
tailed care has been lavished on the 
film, under the direction of J. G. Cap- 
staff, and it is expected that it will be 
an example of perfect amateur work 
in standard photoplay technique. At 
a late club meeting The Fall of the 
House of L'sher, production of Dr. J. 
S. Watson, Jr., and Melville Webber, 
was screened. So enthusiastic was the 
club's response to this amateur mas- 

terpiece that an immediate re-screen- 
ing was demanded. 


nrOUCHDOWN, written by Doug- 
-■- las Thompson, selected by the 
Herald Cinema Critics Club of Syra- 
cuse, N. Y., as the winner of their 
recent scenario contest open to local 
high school students, is already in 
production. Tlie storx is liuilt aiound 

jorie Arnold. Marcus Chacona, J. 
Edward McEvoy, Rita Miller and 
Fred Shellish, all students of Central 
High School in Syracuse. Location, 
wardrobe, script, transportation, 
properties and promotion committees 
have already been appointed. 

Publish Bulletin 

pARLY this month the Mohawk 
*—' Valley, New York, Cine Club will 
begin production of a winter 
sports film running 100 16 mm. 
feet, to be called, A Winter Day. 
This active club publishes an 
eight-page monthly bulletin giv- 
ing club news and including 
reviews of recent professional 



cph Braid in a Scene from a Photoplay of The Southern Mo 

Makers Triangle ol Summerville. S. C. 

football and the cast has been selected 
from high school students by screen 
tests, the adult roles being filled by 
members of the "Tri-C", as the Critics 
Club is familiarly known. Walter P. 
Mcintosh, who directed Six Appeal, 
will direct the gridiron drama; Ches- 
ter B. Bahn, dramatic editor of the 
Syracuse Herald, will supervise pro- 
duction; Fay Woodward and Chaun- 
cey Fairbanks will act as cameramen: 
the five leads will be played by Mar- 


Californm Camera Cluh Celebrating Out; 

CmWx Park, Rcrkl.v 

Third Production 

rector of activities of the 
Newport News High School, 
Newport News. Va., reports 
that the drama class of the High 
School has made plans for its 
third amateur photoplay. With 
the proceeds from its extremely suc- 
cessful stage plays, the class has 
bought a camera and projector and is 
planning to buy additional equipment 
to enable members to take interior 
scenes and to make full use of the 
camera. Heroes All, the initial pro- 
duction of this group, was submitted 
to Photoplay's first amateur movie 
contest. This scenario was written with 
the cooperation of the entire class, 
the production was directed by Miss 
Crane, and Richard Jordan was 
cameraman; leads were played by 
Blake Cameron. Robert Morrison. 


MMMWMMKie 1920 

Sallie Moss and Dorothy Terrell. The 
second production, Our Old High, 
ran 1,000 feet, 16 mm., and included 
interior scenes. The plot, involving a 
yacht and an airplane which were 
available, told the story of arousing 
a wealthy and snobbish youth to true 
high school spirit. Miss 
Crane announces that, 
because of the benefit 
obviously derived by 
the students taking part 
and because of their 
general keen interest, 
amateur photoplay pro- 
duction will continue to 
be a definite part of the 
work of the dramatic 
class. Amateur movie 
equipment is also used 
by the school in athletic 
training and in record- 
ing school activities. 


AT a recent dinner 
meeting of the 
Cleveland, Ohio, Ama- 
teur Movie Club, Over 
the Alps by Motor, 
filmed by William H. 
Levering, club member, 
was screened. On the 
same program were 
films taken by members 
in a recent lighting ex- 
periment arranged by 
the club, and The Nor- 
folk Case, produced 
by the Motion Picture 
Club of New Haven, 
was projected. 

equipment will be available. The cine 
committee needs 16 mm. amateur 
cameramen who would like to work 
in photoplay production. No dues 
are charged as the expenses of pro- 
duction will be defrayed otherwise. 
However, the whole production is on 


in January. Plans are being made for 
the production of a club amateur 

Manheini Active 

\ N audience of over four hundred 
** attended the first public screen- 
ing of the Glorious 
Fourth, production of 
the Paramount Movie 
Club of Manheim, 
Penn. Box-office re- 
ceipts netted the club 
over eighty-five dollars 
with which to finance 
its next production. 
Richard H. Litzenber- 
ger, president, reports 
that general public in- 
terest in amateur 
movies has been 
aroused in his com- 


Scenes from Trohriana, the Splendid Photoplay of Fir 
Productions, Sidney, Australia. 

AN article appeared 
in the November 
number of the Ladies' 
Home Journal on ama- 
teur movie club forma- 
tion for photoplay pro- 
duction. The response 
to this article has been 
widespread and enthu- 
siastic and many new 
recruits to cinematog- 
raphy may be expected 
from it. That amateur 
photoplay production has obtained 
recognition in this large general mag- 
azine outside of the motion picture 
field is a significant step in the de- 
velopment of film story production as 
an important factor in group and 
community artistic expression. 

Want Cameramen 

THE Cine Committee of the Morn- 
ingside Theatre League, of New 
York City, plans the production of an 
amateur photoplay. An interior 
studio, extensive sets and lighting 


an entirely amateur basis. Cameramen 
interested in this opportunity may 
obtain further information from the 
Club Consultant of the Amateur 
Cinema League. 

To Present Sound 

pECENT programs of the Chicago 
■'■^Cinema Club included an evening 
under the auspices of the Burton 
Holmes Lectures, Inc., and a screen- 
ing of members' films. A demonstra- 
tion of 16 mm. sound film is sche- 
duled for an early meeting of the club 



WOLFF plans the 
formation of an ama- 
teur photoplay pro- 
ducing group in New 
York City. Amateur 
cameramen who are in- 
terested in joining with 
her should notify the 
Club Consultant of the 
A. C. L. 

Quick Love, a light 
Kiinedy scenarized by 
Mrs. Clara Young, has 
ln'cn chosen as its sec- 
ond production by the 
Motion Picture Club of 
-Miami, Fla. The story 
is well adapted for 
simple production. 

The Peabody Cinema 
Club, of Nashville, 
Tenn., is reorganizing 
and Joe McGregor, last 
\ I' a r s technician, is 
picparing for the dou- 
ble role of cameramp.n 
and technical director. 
A ])roduction has been 
planned, details of 
which are not yet an- 

Miss Marion Blew, 
secretary, reports the formation of the 
Lansdowne High School Amateur 
Movie Club in Lansdowne, Pa. About 
twenty have already joined the new 
group and the first production will be 
announced later. 

The Portland, Oregon, Cine Club 
screened Narrow Paths at its last 
meeting. Membership now numbers 

M. H. Cannell of Providence, R. L, 
plans a club organization in his city 
for amateur photoplay production. 
(Continued on page 889) 



News of Visual Education in Schools and Homes 

Virginibus Puerisque 

STRAWBERRY ice cream and 
"snappers" are not the only ex- 
citing features of children's 
parties in these days of home movies. 
Many wise parents are discovering 
the possibilities of short-film pro- 
grams with the portable projector as 
the grand climax to the Saturday af- 
ternoon birthday celebration. These 
home movie programs, made up of 
films selected by fathers and mothers 
themselves, especially suitable for 
boys and girls, may solve the pro- 
blem of providing the right motion 
pictures for their children. 

Obviously the home movie is no 
substitute for the average theatrical 
presentation of motion pictures, with 
the "mood lighting" in the audito- 
rium, the music and elaborate pro- 
logues, to augment the entertainment 
value of the film program. But the 
home movie made up of carefully 
chosen films, presented with musical 
accompaniment from the radio or the 
phonograph, can still be very enter- 
taining to the average boy or girl. 

The choice of films suitable for 
children, available by purchase out- 
right or to be rented from dealers, 
becomes increasingly large with each 
new issue from leading manufactur- 
ers. Such a program might include. 
"Parade of the Wooden Soldiers," 
with musical accompaniment on the 
phonograph of the musical march 
fantasy by Leon Jessel; "Robinson 
Crusoe," a film version of this fa- 
mous childhood favorite; an "Aerial 
Trip Over New York" or "The Great 
Waters of Versailles," or any of a 
hundred other subjects which should 
prove particularly appealing to an 
audience of younger children. 

For school entertainments on festi- 
val days the choice of suitable film is 
just as wide. It includes pictures of 
purely educational value to be pre- 
sented with scenic and industrial 
films that will appeal to boys and 
girls of various ages. Special musi- 
cal accompaniments by the school or- 
chestra or by individuals from the 
older groups who know how to play 
the piano could be arranged to sup- 
plement these programs. 

Teachers will readily appreciate 
the improvement of this new type of 
entertainment over the old-fashioned 
"recitation day," which demanded ex- 
tra hours of drilling and coaching. 
And the children themselves, it is safe 
to say, would enjoy an afternoon of 

Edited by Louis M. Bailey 

moving pictures far more than the 
regulation school exercises and 
"speaking pieces." 

But just because they are shown in 
schools does not mean that these mov- 



Teaching the Public to Prevent Forest Fires Is Latest 

Role of Film Education. 

ing pictures should lack in entertain- 
ment value. The best films for chil- 
dren, exponents of visual education 
point out, are those which interest 
them. At the same time they must 
provide a definite mental stimulus to 
result in the boy or girl actually 
thinking along a pattern of organized 

Children are literal minded, too, 
and a program of motion pictures 
devised especially for the young au- 
dience should be a balanced presen- 
tation that will not leave a badly 
jumbled impression, similar to the 
reaction of a small boy taken to a 
performance of four one-act plays. 

"This play didn't seem very con- 
nected, did it, mother?" he remarked, 
after it was all over. 

Forest Fire Films 

'T'O help combat the forest fire 
■*- menace which recently laid waste 
millions of acres of valuable timber 
land in California, the Leavitt Cine 
Pictures Company of Los Angeles, 
San Diego and San Francisco, has re- 
cently made several thousand feet of 
film of the burning area for the Cass- 
Johansing Lumber Company. The 
pictures are designed for co-operation 
with the government in instructing the 
public concerning the importance of 
forest conservation and to help elim- 
inate the carelessness and stupidity 
from which such fires usually result. 

Anyone who has seen the broad- 
spread destruction brought about by 
forest fires realizes the criminality of 
carelessness. It is hoped that the pic- 
tures just completed will fulfill their 
educational intent and help shock to 
consciousness those whom the law and 
verbal instruction have not as yet 

Health and Censors 

"TiHERE are moments in "The Way 
■'- to Strength and Beauty," a Ger- 
man film released by Ufa, 1540 
Broadway, New York City, when a 
suggestion of its original beauty and 
adherence to a well conceived cen- 
tral idea remains in spite of subse- 
quent assaults from boards of cen- 
sors, title writers and the editing de- 
partment of the American distribu- 
tor. Designed to teach through film 
that health and beauty invariably 
accompany physical activity, it shows 
a series of beauty cults of various 
peoples glorifying physical perfec- 
tion. The muscular development of 
the Greek at his games, the Roman at 
the bath, the Abyssinian savage gy- 
rating ecstastically to the barbaric 
throb of muffled tom-toms, and the 
trimness of the modern ballet-dancer, 
which results from hours spent in 
strenuous training, are examples of 
the application of the idea. 

While for the most of us such in- 
tense exercise is neither practicable 
nor desirable since one can neither 
be a ballet dancer nor an Abyssinian 
savage, it is ably demonstrated that 
proper exercise is an essential in 
every life. The real worth of the film 
lies not only in the practical lesson 
it has to teach but also in its appre- 
ciation of the esthetic values of 
healthy bodies. Apparently the 
(Continued on page 894) 

J/llWll^lRY 1929 



Perfecting the Plan of Your Photoplay, Before Shooting, for Economy and Excellence 

By Epes W. Sargent 

BACK, in those good old days ^ ° 

when we used to pack a story 
into a flat one thousand feet of 
action and title, instead of blowing 
it up to eight reels with five thou- 
sand feet of padding and two thou- 
sand feet of wisecracking sub-titles, 
it was the more or less general rule 
that a director started a new story 
on Monday, washed it up Thursday 
night or Friday morning and then 
spent the remainder of the week "fix- 
ing" the next picture. 

There was no time in those days 
for experimental "treatments," long- 
winded conferences, half a dozen 
continuities and all the rest of the 
fancy trimmings which have added, 
perhaps, ten percent to the value of 
the picture and several thousand per- 
cent to its cost. 

The amateur companies are stand- 
ing about where we did in those days, 
and in most instances cost-cutting 
was as important then as it now is to 
the amateur producers into whose 
hands is passing the custody and ar- 
tistic progression of the wholly silent 
picture. Proper fixing makes for 
economy. But however small the 
treasury and however great the need 
for funds, we are going to suggest 
the presentation to the director of 
two wall or desk mottoes. One of 
these should read. Be sure you are 
right, and then go ahead, and the 
other is, A stitch in time saves nine. 
If you believe in the luck of odd num- 
bers, add, Look before you leap, but 
this is virtually covered by number 

If you can't find these in the shops, 
letter them yourselves. They are not 
copyrighted, and if the authors come 


to bother you, yell for Conan Doyle. 
Ihey have been dead for a long time. 

The director who reads and assimi- 
lates these wall mottoes will do his 
fixing before the picture is started, 
and he will save money, time and 
temper. All three are important to 
good work. 

First you get your story, and then 
you get it right. If you fail to fix 
properly, you'll fall into the Holly- 
wood class where often not ten cents 
of each production dollar gets 
through to the screen. Don't try to 
be as Hollywood is, but as it should 
he. Millions of dollars are being 
wasted each year in Hollywood simp- 
ly because they do not fix properly 
and later get into more of a snarl 
with each eff'ort to correct mistakes. 

Get your story. Get it right. Fix 
it. Then produce it. But get your 
story right — just right — before you 
go on to the next steps. Don't start 
off in a rush and trust to your clever- 
ness to straighten out as you go 
along. Either you will work with an 
original story or do an adaptation 
of some book or play. If you do an 
adaptation, let us hope you pick on 
something in the public domain. But 
let conscience be your guide. The 
main point is to get your story. 

Don't be so self-sufficient that you 
need no help. When you pick the 
story, discuss it with the entire com- 
pany. It's going to make a lot of talk. 
It's going to create argument. But 
better an argument from your troupe 
than the realization later that the film 
is all wrong. About three-fourths of 

the suggestions will be impractical, 
but you'll get help, and some dub, 
who may never achieve a dozen orig- 
inal ideas in his entire lifetime, may 
be inspired to make a real suggestion. 
He may be just thick enough to get 
an idea that the more Inilliant minds 
may pass over. 

If you are working an original, talk 
it over in synopsis form. If you have 
a book or play, reduce the story to 
5,000 words or less. 

When you have decided on the ex- 
act form of the story as you will 
tell it (they call this a "treatment," 
out by the orange groves) make your 
continuity. Work over this until you 
feel that you cannot better it. Then 
stick to it. Stick to it no matter what 
inspiration comes to you after the 
script is in work. Once you start to 
make changes, you'll let yourself in 
for more misery than you ever 
thought could be caused by any one 
thing. You change one scene. Then 
you discover that another must be 
changed to match. This entails a 
third alteratioii and so on and on. 

I recall one star instance where a 
director made a single change in a 
script. He muddled around for two 
weeks and turned in 2,800 feet of 
negative. It took us another two 
weeks to patch the dreadful thing up 
so that it made half sense. We didn't 
fire him. That simply meant we 
would get another man just as bad. 
Extemporaneous change have cost 
film makers more money than would 
run a world war for two whole 

This does not apply to the "busi- 
ness." of course. Often you can and 
should change this, but once you have 

»■ O ^' ■ E 

I /« 14 E R S 

your story laid out, don't alter it dur- 
ing production or you'll inevitably 
discover that it will necessitate a lot 
of retake. That's where the tailoring 
motto comes in. Do your sewing be- 
fore you start. Work on your con- 
tinuity until it is as perfect as you can 
get it, and then run it through without 
change. When you are positive your 
script is just right, go on to the next 
step, but not until you are sure. 

Footage, within reason, does not 
worry you. You don't have to keep 
within a prescribed number of feet. 
But get some idea of how you are go- 
ing to run. 

Just how many scenes is a prob- 
lem. "Pop" Hoadley, one of the good 
old timers, had a fixed answer to the 
inquiry as to how many scenes made a 
reel. He used to come back with, "How 
many potatoes make a bushel?" 
We had a sort of rule-of-thumb that 
twenty scenes made a reel, but tliis 
did not mean that it made a reel of 
twenty scenes. D. W. Griffith hit a 
record with 120 scenes in the thou- 
sand feet of The Sands o' Dee. The 
shortest scene ran about seven frames. 
He made about thirty scenes and then 
cut them into each other. 

About the best way is to take your 
script and mentally rehearse your 
scenes, preferably with a stop watch. 
Close your eyes and vision the action 
of the scene. Note the number of 
seconds required. Mark this on the 
script and then add up. With a little 
practice you can come within ten 
percent of your actual footage. 

And here comes one of the nice 
points of direction. Value your 
scenes. Give them what they are 
worth. Don't waste twenty feet on 
a ten foot value and then skimp an 
important scene into twelve. When 
you come to rehearse, use the stop 
watch again and try to get approxi- 
mately the time value. Not one person 
in a thousand may be able to appre- 
ciate your nice timing, but 990 will 
sense a lack of finish in a badly 
timed scene. Study tlie work of the 
best professionals and then note how 
nicely the scenes are proportioned. 
It's not just accidental. 

Now you have your script laid out 
and timed. The next thing is the 
working schedule. It is assumed that 

you cannot command the services of 
your players at all times. You must 
suit their convenience. You must plan 
your time to suit theirs, so frame 
your schedule to meet this condition. 
Plan your schedule to give Satur- 
days and Sundays to the exteriors. If 
you use interiors, do the inside stuff 
with the lamps through the week, in 
the evening. Call only the players 
you need for the scenes you will take. 
For the exterior stuff try and plan 

your progression to make the most of 
your working light. Start as close to 
home as you can and work outward. 
\ ou can come home after the light 
has gone. 

To do this most conveniently, make 
up a set of work sheets, with each 
set or location on a separate page. 
Don't merely use the general ''Lake 
5/( ore- 1-26-31." That means you'll 
have to look up those numbers in 
the script. Make a memo entry like 

Lake shore 
1 — Where Mary and Gerald meet. 

26 — Gerald gives Mary the ring. 

31 — Mary throws a kiss to Gerald, who is 
in 30. 

Now you'll know what it is all about 
without having to go through the 
script. By keeping each set and loca- 
tion separate, you can rearrange and 
change until you get the ideal layout. 
Eventually you will assemble your 
sheets by days. 

Now make out your property list. 
If you use an interior, do not list 
everything in the room. Assume that 
the room will be furnished. List only 
the essential props, but list every last 
one. It takes all the joy out of life 
to sit your company by the roadside 
while Props races back to town for 
an essential scarf or the gun with 
which to shoot the wicked villain. 
Make a general property list of all 
the props, then take off on your work 
sheets all of the props used in that 
set of scenes. For example, in the 
location just quoted, your work sheet 
should show, "Ring in jeweler's box." 

Give Props the general list and let 
him copy from your work sheets. 
Now it's up to him to get the props or 
the boot. 

If you have begun to wonder 
whether you are a director or a book- 
keeper, cheer up. It's just starting. 
Get your costumes up. Lay these out 
on your general script, so that you 
can follow down to a costume change. 
Then copy them off on the work 
sheets, too. In your spare time work 
out a costume call for each player. 
Here is a sample: 

Costumes for Mary 

1 — White dress, shoes, and stockings. Pic- 
ture hat. Blue sash. Brooch at neck. Used 
in scenes 12-14-28-29. 

2 — Evening gown with satin pumps. Hair 
dressed high. In scenes 30-32. 

3 — Sport costume. Tennis racquet. In 
scenes 17-19. 
In scenes 17-19. 

Make a complete list of the cos- 
tumes and give each member of the 
cast his costume sheet, remembering 
that a garment worn or used by two 
or more players is a prop and not a 
costume and that this goes on the 
prop list. 

In laying out costumes, try to avoid 
costume changes in field work. 
Changing is often inconvenient. 
Where a change must be made, shoot 
all the scenes in one costume before 
you order the change, though one 
(Continued on page 896) 

J;%I«imJj%RY 1929 


Ingenuity as a Panacea for Amateur Production Problems 

SETTINGS, properties and cos- 
tumes often seem to present in- 
superable obstacles to the ama- 
teur film story producer. By the most 
advantageous use of the camera, by 
stylization and by the use of symbol- 
ism many of these problems can be 
overcome. Sometimes technical facil- 
ities, no matter how simple they may 
be, are as limited as properties and 
sets but the amateur can always make 
the best use of available material, al- 
though its suitability may not be re- 
vealed without careful thought. 

The ingenious use of existing ma- 
terial in the production of The Tell 
Tale Heart, an amateur film running 
1000 35 mm. feet, which won honor- 
able mention in Photoplay Magazine's 
first amateur movie contest, proves 
that minute realism can be obtained 
by the careful amateur and that only 
ingenuity and detailed work are re- 
quired in the construction of sets and 
properties from material at hand. 
Certainly the extreme limitations un- 
der which Thomas Fisher and Nathan 
Fox, who produced The Tell Tale 
Heat, were forced to work will heart- 
ten every amateur who may feel that 
his facilities are so few as to make 
production a hopeless dream. 

This story called for an old attic 
bedroom, so an old attic bedroom was 
found that had the same atmosphere 
as the setting of Poe's tale. A dilapi- 
dated cot was bought at a second hand 
store and taken to the attic. A high- 
backed chair was made by using ma- 
terial found in a wood pile. The chair 
was weak but it conveyed tlie idea of 
antiquity and feebleness. A table was 
made from the same kind of material 
and dirt was rubbed over the heads of 
the nails to make them inconspicu- 
ous. Then lantern used by the old man 
of the story was made of rusty tin 
that could easily be shaped. 

A fifteen-ampere arc lamp was bor- 
rowed from a photographer and this 
was supplemented by two home-made 
lamps. These were made by building 
two boxes, fifteen by twenty by ten 
inches, which were lined with tinfoil 
and into each of which a blue day- 
light 1000 watt incandescent bulb 
was set. Two flat boards covered with 
tinfoil served as reflectors with which 
a boy, leaning from the window, 
caught sunlight and reflected it in 
concentrated rays to the action. 

Since characterization was the 
chief aim of the production no pains 
were spared to secure closeups from 

By Arthur L. Gale 

effective angles at dramatic moments 
in the tale. One scene, in which the 
murderer tears up the floor boards in 
his frenzy to reach the beating heart, 
called for a shot from below the floor 
level. This problem was met by us- 
ing the table top as the floor. The 
camera was placed underneath the ta- 
ble, willi llii' lisht cDiiiini; Irmii aluiM'. 

fhotog^aph by fiirdinouTii 

and, as the murderer ripped up the 
boards of the table top, a closeup of 
his terrorized face was obtained as if 
it were seen by the eyes of the body 
he was disclosing. 

The location of street scenes pre- 
sented even more difficulty than se- 
lecting the interior. The story is set 
in the period of 1820. The streets of 
modern Pittsburgh would completely 
destroy the illusion carefully built up 
in the selection of custumes and in- 
teriors. After days of search from 
street to street and quarter to quarter 
an alley was found lined with old 
houses and equipped with street 
lamps antedating the Civil War. At 
either end, this alley was cut off by 
smaller ones, which prevented distant 
views of modern scenes. Here the 
camera was set up. 

Mr. Fisher played both the role of 
the old man and that of his madman 
nmrderer. A particularly realistic 
eff"ect was secured in make-up by tlie 
use of a pig's bladder as the scalp 
of the wig for a partially bald man. 
It was cut to stretch over the head and 
fitted very tightly, barring all resem- 
blance to artificiality. The hair that 

covered it, in part, was obtained at a 
five and ten cent store. Of the make- 
up Mr. Fisher writes, "With all the 
work I did in planning the makeup, 
I really achieved my characteriza- 
tions largely through facial expres- 
sions and body movements. The cos- 
tumes I made myself, but this was 
easy. They consisted of bits of old 
clothing altered here and there to 
best suit the two characters. Harry 
Clarke's illustration of the characters 
in Poe's book, Tales of Mystery and 
Imagination, served as a source of 

As a result of this care for minutiae 
and in spite of the complete lack of 
studio facilities, settings, costumes 
and properties. The Tell Tale Heart. 
as seen in the finished film, could 
hardly be improved by a professional 
production staff building specially 
constructed sets. 

The search for space for large in- 
terior sets in the production of Black 
Dirt in Reno, Nevada, under the di- 
rection of Walter Stevens, was solved 
by the discovery that the stage of a 
local theatre could be secured. A 
dance-hall set was built on the stage 
one hundred feet wide and seventy- 
five feet deep. All the spots and 
floods that could be found in Reno 
were collected and with one Kleig 
and homemade floods built on the de- 
sign published in Movie Makers for 
August, 1928, Mr. Stevens, to quote 
his own words, "set the place on fire 
with light". 

Possible production economy on 
even a first effort with a large cast is 
well illustrated by the production 
budget of Heroes All. filmed by the 
Drama Class of the Newport News 
High School, Newport News, Va. 

Film $48.00 

Title material 4.00 

Properties 4.00 

Makeup 3.00 

Total $59.00 

Locations and transportation fur- 
nished by friends. 

These courageous amateur experi- 
ments are pioneering accomplish- 
ments of great value and should be- 
come part of the permanent history of 
the amateur photoplay movement. 
They point the way to an independ- 
ence of amateur effort, a breaking 
away from the expensive traditions of 
the professional, and promise an ex- 
perimental flowering that will take the 
amateur film further than it has ever 
gone as a professional medium. 


"A0 St WuB in tltp Ipgtnning' 

Ji;%I«U/%RV 1929 

The LESSON of 

By Epes W. Sargent 

With Illustrations from The Last Moment, a Poverty Row Production of Great Merit, 
Chosen by the National Board of Review as One of the Exceptional Films of the Year. 

SHOULD you happen to possess 
fifteen hundred or fifteen thou- 
sand dollars and feel an urge 
to become a film magnate, take a run 
out to Hollywood and ask to be di- 
rected to "Poverty Row". Whether it 
be "centuries" or "grands", they'll 
make you a picture for your very 
own, with "John Smith presents" and 
all the other trimmings. 

You 11 get no change back, but on 
the other hand you won't be told that 
another contribution will be needed 
to complete the picture. If the direc- 
tor says he'll make you a picture 
for .52,000 he'll make a picture for 
that — and no more. 

Over on the "big lots" they'll start 
to make a picture for .|70,000 and 
add as much, if not more, before it 
is done. Since the famous economy 
drive of last year, though, even the 
director generals, managers of pro- 
duction and the supervisors have not 
been above taking a few hints from 
Povertv Row. One company has even 

announced that it won't start shoot- 
ing a picture until the script has been 
completed. In the old days they 
might shoot several thousand feet on 
some sequences, only to throw them 
away when the story was finally de- 
cided upon. It was wasteful, but it 
was Hollywood. 

Down on the Row the director does 
not turn a foot of film until he is all 
set with his script. The "office", 
which is the Row equivalent of the 
theatrical "angel", the financial 
backer, has just so much money. The 
director must keep within that sum. 
He can't afford to waste a foot of 
film, let alone a thousand feet, on 
something that won't be used. One of 
his first steps is to go to a scenario 
writer — one who specializes in such 
scripts. He tells the author how much 
money he has to spend. He may sug- 
gest that he'd like a certain type of 
story. The author does the rest. If 
the limit is $1,500 the author knows 
that interior scenes are to be avoided. 

for studio rentals cost money. On 
so cheap a script he must write all 
his action outdoors. 

If there is a little more money 
available he may put in a few simple 
interiors. Perhaps the director may 
know of some studio where he can 
rent an elaborate set already used in 
a "regular" picture. Perhaps it is a 
big cabaret set, or an elaborate ball- 
room. Whatever it may be, the studio 
may be willing to let the "quickie" 
use the set before it is taken down. If 
the set is shot from angles other 
than used in the original production 
it may not be recognized. It won't 
matter much, anyway, for the 
"quickies" don't show in the same 

Perhaps it is not the set but the 
star that dictates the story. The 
director can get Kitty Klieg for two 
days. That's the cue to write in a lot 
of closeups showing this really fa- 
mous star, just about enough to be 
killed in the two days if Kitty comes 
early and stays late, as she knows she 
will have to. The rest of the script 
will be done by the other players, 
or with the character played by Kitty 
so remote from the camera that the 
fact that a double is used won't be 

In other words, the scenarist cuts 
his literary garment according to his 
financial cloth, and he cuts so cleverly 
and so closely that the remnants 
wouldn't suffice to provide a ballet 
skirt for a kewpie doll. 

That is the lesson the amateur can 




1^ f k^^^^^^^^B '' 


1 1^^ ' ^ 


VVvv ^..,^^^^^^^^^^^K 



l/% K C R S (^ 

learn — to his profit — from a study of 
Poverty Row. This is not the story of 
Poverty Rovv'. It is the story of expert 
tailoring. The Row director can keep 
within his budget because he knows 
exactly what he must do. His script 
has been laid out so that he can shoot 
on schedule and stick to that schedule. 
If he has a sequence in a theatre it 
is because he knows in advance just 
where he can hire a theatre within 
his price. He doesn't have the theatre 
scenes written into the script and then 
look for the theatre. He gets the 
theatre and then tells the scenarist to 
write in the scenes. 

When he starts in to shoot he has 
every minute of his time mapped out. 
Often he will start in with a full staff 
on Monday morning, shoot for three 
days, edit on the fourth, get the titles 
in the next day, and come up Satur- 
day noon with the negative ready 
to be sent to the laboratory for com- 
mercial prints and his staff reduced 
again to himself and the office boy — 
and not always the office boy. This is 
possible only through the most care- 
ful planning. His script is written to 
suit his finances. His company has 
been engaged from the same angle. 
He knows just what he has to do and 
when and how he must do it. 

The amateur will do well to profit 
from his example and spend more 
time preparing for the actual shoot- 
ing of the script, whether this script 
be a five-reel feature or a tiny playlet 
of a dozen scenes in a few hundred 


Whether it be a multiple or a frac- 
tional, it pays to work out the details 
— all of them — in advance. It will 
save time and money, film and pa- 
tience. It gives the best return in 
effect for the least expenditure of 
actual effort. It is just as easy to 
emulate the "quickie" and be syste- 
matic as to follow the highly praised 
star director who produces forty and 
fifty reels of unduplicated negative 
to obtain a five to eight-reel feature. 

The production of amateur scripts 
is still in the formative stage. Get off 
on the right foot. Be a Davy Crockett. 
Be sure you're right before you go 
ahead. Form your habits now, and as 
you advance in your art your progress 
will be more rapid and your achieve- 
ments more artistic. You will be able 
to give your undivided attention to 
production and not have to worry 
about the details. 

Suppose that you plan a little story 
for your small son. It is to be the 
story of a fishing trip. Your wife is 
working in the garden. She gives a 
shriek when she encounters an un- 
usually obese angleworm. Junior, 
rushing to her rescue, imprisons the 
worm in a tin can and digs others. 
He calls Billy Bradley from across 
the street, and together they set out 
for the creek. There's that place 
down near the swimmin' hole, where 
the willows will make such a cork- 

ing background. There's the ford and 
the stepping stones. And there's that 
rustic bridge off which the kids can 
fish. It will be really artistic — some- 
thing to show with pride. 

In a frenzy of inspiration you dash 
off the ten or twelve-scene script and 
decide to shoot it Saturday, if it's 
clear. It is, and Billy Bradley has 
been hanging on the gate since seven 

You decide you'll start with the 
opening scene, and you mentally 
place the locale beside the big rose- 
bush, with the pergola in the back- 
ground. You are proud of that per- 
gola. But at ten o'clock the rosebush 
is still in deep shadow and the per- 
gola is in eclipse. You decide you'll 
wait and take that last, when the sun 
has come over and you can shoot to- 
ward the house. 

But your wife has something to say 
about that. She is going to an after- 
noon of bridge. It is now or never. 
In desperation you take the trio into 
the garden and shoot a currant bush 
against a high board fence. Not as 
pretty, but it is too late to change. 

Then you head for the creek, trust- 
ing that the natural backgrounds 
will make up for that hideous fence. 
You forget tliat to shoot the bridge, 
with the grove of trees in the dis- 
tance, it is necessary to set up about 
(Continued on poge 884.) 

JAWmjARV 1929 


Technical Reviews to Aid the Amateur 

Ten Days That Shook the World 

Directed by (S. M. Eisenstein 

^G. V. Alexandrov 
Photographed by Edward Lisse 

Cinematic Symbolism: There are 
so many instances of a skilled usage 
of cinematic symbolism in this film 
that it would be impractical to enum- 
erate them. They are all worth the 
attention of the amateur. 

Cinematography: Here it depends 
entirely on the continuity, the cutting 
and the editing. Although there are 
practically no dissolves nor devices 
difficult for amateurs, full use is made 
of other possibilities of the camera. 
The technique of the film could be 
duplicated by any amateur 
and will vastly repay careful 

Foot Prints 

Directed by. . . .Jack Rollins 
Photographed by 

Jerome Ash, A. S. C. 

suggests many adaptations for ama- 
teurs that could be produced very 

The Woman Disputed 

United Artists 

Directed by... j Henry King 
(Sam Taylor 

Photographed by. .0. Marsh 

Foreground Silhouettes: 
In one of the war scenes a 
remarkable combination ef- 
fect was secured. The scene 
in the middle distance of 
women working in a field to 
raise food for the armies is 

Camera Angles: In one scene in 
which Norma Talmadge is kneeling at 
the altar the angle from above is ex- 
tremely effective, especially in the 
manner in which the shadow of the 
cross composes in the resulting pic- 

Beautiful Scenes from the Russian Tour de P 
Ten Days That Shook the World. 

New Idea: The film tells a story 
related by an old pair of shoes. By 
means of closeups of feet an incident 
in the owners' life is revealed and a 
brief drama unfolded. This method 
of using closeups in telling a story 

framed in the middle fore- 
ground with tree foliage. Di- 
rectly across the foreground 
runs a road. As the action 
progresses the silhouetted 
figures of marching men, 
motor lorries, and gun car- 
riages pass directly before 
the camera and between it 
and the action in the middle 

Stereoscopic Effect: In 
a cathedral scene the camera 
is swung from one side of the 
church to the other in fol- 
lowing a moving figure. Be- 
tween the figure and the cam- 
era stand the great columns 
of the church. The effect of 
the two moving points, the camera and 
the man, in relation to the fixed col- 
umns produces a stereoscopic effect 
which is startling. The director evi- 
dently was so justly pleased with the 
result that he repeated it later. 

ture. Later, as Gilbert Roland is 
standing accusingly above the droop- 
ing figure of Miss Talmadge slumped 
on the floor, the camera is placed at 
floor level shooting up, thus empha- 
sizing her helplessness by magnify- 
ing Roland. 

Telling the World 


Directed by Sam Wood 

Photographed by, 

William Daniels. A.S.C. 
Cinematics: One sequence in this 
otherswise barren picture is a master- 
piece of cinematography. When the 
Chinese revolutionary force unjustly 
accuses an American girl of murder 
and condemns her to death without 
trial, William Haines as a newspaper 
reporter breaks into a wireless station 
and sends out a call for help. Then, 
following the appearance of a revolv- 
ing ball of blazing light across which 
( Continued on page 884) 

I»l O «' I E 

: ;% liL E IC S 


The Jfi/irf 

AGAIN the reaction of humanity 
to a ruthless force in nature 
serves as the underlying theme 
of a powerful photoplay, "The Wind," 
a Metro-Goldwyn-Mayer production, 
which establishes Lillian Gish as the 
great actress her admirers have long 
contended her to be. As in the screen 
version of "Rain," rather ambigu- 
ously titled "Sadie Thompson," the 
particular scourge of a particular lo- 
cale is woven into the 
plot, with the result 
that rather ordinary 
people, engaged in very 
ordinary pursuits, are 
transmuted through 
close traffic with the 
magnificence of the ele- 
ments into individual!> 
of universal interest. 

The story is set in a 
section of Texas where 
the wind is said to blow 
incessantly. carrying 
with it most of the sand 
in the Panhandle. A 
deep impression of the 
utter desolation of the 
district and the fear in- 
spired by the unending 
battle with the winds is 
established as the film 
opens. The spectator 

Reviews for the Cintelligenzia 

not wonder "that in this country 
women go mad." 

Only the motion picture could re- 

vital theme, such as man's battle 
against hunger, against the jungle, or, 
as in this most recent example, against 
the forces of the storm, is chosen, the 
film reflects a universally funda- 
mental struggle and the world is 


n The- U'md. One of America's Greatest Cont. 

to the Screen. 

PliDiograplis b,v Mc 

first sees it through the terrified 
eyes of Miss Gish, portraying a 
demure Virginian, as the train on 
which she is arriving battles a screech- 
ing sandstorm. All through the rest 
of the story of jealousy, marriage 
without love and suffering almost be- 
yond human endurance the wind 
shrieks maliciouslv, until one does 

create in such grim reality the 
struggle of these frail humans with 
the elements. Conversely, therefore, 
this is the sort of material with which 
the motion picture should deal. "The 
Wind" shares the same epic quality 
that has won the recognition of great- 
ness for such cinema classics as 
"Grass" and "Chang." Whenever a 

thrilled. The formula seems so 
simple that it is astonishing how 
infrequently it is applied, es- 
pecially in view of the fact that 
the box office now shows a de- 
cidedly favorable reaction to 
such films. 

By all tests "The Wind" 
merits classification as one of 
the two greatest, if not the great- 
est, of the year's pictures. The 
possible exception is, of course, 
Paramount's "The Patriot." The 
direction, which must have been 
a terrifically difficult achievement, is 
extraordinarily fine. The honor is 
due Victor Seastrom. The photog- 
raphy and cinematics are handled 
by Edward Sedgwick with so sure a 
grasp that one might easily fail to 
realize their artistry. Miss Gish's 
superb performance has already been 
mentioned. Its outstanding charac- 
teristic is sincerity. All of the artificial 
little mannerisms of other days are 
absent. Nor should Lars Hanson go 
unmentioned. As the uncouth cowboy 
he carries much of the sympathy of 
the audience with him, until it is 
equally shared with Miss Gish in the 
final climactic moments. Much that 
has been said above concerning the 
picture must be credited to the excel- 
lent scenario of Dorothy Scarborough, 
who. by the way, is a professor at 
Columbia University. We hope that 
we may see many other photoplays 
from her pen for she has sensed a 
(Continued on page 881 ) 

JAmmjAK'*' 1929 

Illustrating Florey's Varied Use of This D, 


A Professional Turns Amateur and Wins Professional Success 

IT would indeed be paradoxical to 
call Robert Florey an amateur in 
the sense of a beginner as he has 
been engaged in the making of pro- 
fessional films for years, but one must 
not forget the true definition of ama- 
teur, in connection with motion pic- 
tures, meaning, of course, a lover of 
the cinema. The routine in which he 
was engaged in the manufacture of 
commercial pictures could, at best, 
represent merely a way of making a 
living to such a man as Florey. It was 
only when he was working on his own. 
after studio hours, with borrowed 
equipment, scanty film, a volunteer 
cast and the most elemental of props, 
that, released from the tenets of the 
film factories, he was able to truly 
express himself in cinematic terms. 
Thus he shared with the rank and file 
of amateurs all the problems of ama- 
teur production. In his conquest of 
these difficulties other amateurs may 
find many helpful suggestions. In 
the success which has attended the 
films he thus so laboriously made 
(they have been acclaimed both in 
Hollywood and New York) there is 
the bright promise of reward for those 
with genuine cinematic ability, for 
Florey has been named a director for 
the great Paramount-Famous Lasky 
Company, a recognition largely won 
by his amateur activities and which 
his professional work might never 
have secured him. 

His three experimental films which 
have created such interest are: The 
Life and Death of 9413 (commonly 
known as The Suicide of a Hollyuood 
Extra), The Loves of Zero and The 
Coffin Maker. He got his inspiration 
to make The Hollywood Extra after 
hearing Gershwin's Rhapsody in Blue. 
He had been in Hollywood only a 
few months when he chanced to hear 


By Herman G. Weinberg 

this music. It fired his imagination; 
he would incorporate the rhythm of 
the "blues"' into a film. And what bet- 
ter subject was there available than 
that of an extra's life in the glittering 
film capital, with its hopes, dreams. 


thwarted ambitions, petty vanities 
and final artistic annihilation? Flor- 
ey had no camera of his own and tried 
vainly to get one until he met Serge 
Vorhapitch. a Russian photographer, 
who owned a small box camera. This 
he succeeded in borrowing. The next 
problem was film. He went to the film 
laboratories where they quoted him 

[he cost of negative and positive film 
and that ended that. Florey then re- 
called that at the end of "shooting" 
on every big picture in Hollywood, 
there is always a lot of good scrap 
film left over in the cameras. Cam- 
era work had just been finished on 
The Gaucho and he hurried over 
to the "lot" before the cameras were 
removed and by dint of persuasion 
succeeded in getting over a thousand 
feet of film in ten and twenty foot 
strips. Then came the trying task of 
"splicing"' these strips together, a job 
which Florey admitted latter would 
try the patience of a saint. With much 
gritting of teeth and invoking the aid 
of the Deity, the mass of strips grad- 
ually took shape as a full reel of nega- 

The plot of the film? Extra 9413 
is reduced to the role of an automaton 
who can"t find work. "No Casting 
Today."' Solon with cigar and tele- 
phone points finger. Out. Visions of 
"Success. " Staircase. Shattered 
dream world. Bills due. No money. 
Death. Hollywood has killed him. 
Extra 9413 goes to Heaven. His num- 
ber is erased by a kindly hand. Peace 
at last. 

That is all. but Florey made the 
most of it and his sly innuendos, sat- 
irical bits, all speak. Here is the 
"star"" whose painted mask the pub- 
lic adores — a savage thrust at hero- 
worship in America. Here is the stu- 
pid extra girl who gets a job so easily. 
Here are the yapping mouths of actors 
and spectators — dumb, brainless 
things. Dancing buildings in antici- 
pation of dazzling previews . . . 
night . . . hissing arc lamps . . . 
motor cars . . . silks and ermines and 
tuxedos . . . the "stars" arrive — 
vying in brilliance with those in the 
sky . . . the insipid mask of the 


Stellar luminary of the rich, velvety evening . . . smiling, 
simple, idiotic . . . and the applause from all sides 
. . . here is SUCCESS! 

I asked Florey how he got the beautiful effect of sky- 
scrapers shimmering in the sunlight with rays glancing 
off the sides of fantastically high buildings. He reached 
for a sheet of white paper and folded it into an oblong 
cube. "I made several of these cubes," he explained, "and 
shot them from an angle that exaggerated their height. 
Then I had someone stand in front and to one side of the 
cubes with a mirror and another person on the opposite 
side with a forty watt electric bulb, swinging back and 
forth. The mirror caught the reflections of the swinging 
light and threw it back on the cubes. The elevated trams 
which you see early in the picture shooting up into the sky 
were really two toy trains which I bought and mounted on 
pasteboard runways. These I pulled 
with a string along the "tracks" with 
one hand while I shot my scene with 
the other." 

The result was a fantastically beau- 
tiful vision of a dream metropolis, 
done in the expressionistic manner, 
but done with a fine eye for the cam- 
era and the context of the piece. 

Throughout the film, Florey used 
suggestion and innuendo in place of 
photographic realism. A bustling 
film studio was portrayed in a few 
deft strokes by photographing sev- 
eral reel spools from which dangled 
strips of film moving grotesquely on 
a background of blinking lights. A 
few strips of cardboard became a 
casting office sil- 
houetted against 
a white back- 
ground with a 
placard thrust 
out at an angle 
from the black 
into the white 
reading, "No 
Casting Today". 
The hysteria and 
excitement cen- 
tering around an 
opening night 
performance, or 
preview, was 
quickly shown by 
photographing a 

skyscraper with 
an extremely mo- 
b i 1 e camera, 
swinging it up 
and down and 
from side to side, 
past a battery of 
hissing arc lights, 
over the theatre 
facade and down 
to the arriving 
motor vehicles. 
To portray the 
mental anguish 
of the extra, Flor- 
ey cut grotesque 
strips of paper 
into the shape of 
gnarled, malignant-looking trees, sil- 
houetted them against a background 
made up of moving shadows and set 
them in motion with an electric fan. 
The last delirium of the extra is es- 
pecially fine in its conception and 
effectiveness. Florey had a number 
of cubes in different sizes placed on 
a flat, shiny surface. Between the 
cubes he inserted geometric designs 
and threw a pale light on the minia- 
ture set. Then he moved his auto- 
matic camera swiftly through the 
maze of cubes for a second or two. 
The death of the extra is followed 
with a quick succession of shots — 
some people laughing, scissors cut- 
ting a strip of film which stretches 
across the screen, tree-tops swaying in 
^"""^ ^'^"'? ^''"" the wind — to my mind this is a stroke 

of cinematic genius. 
Heaven itself became a huge room (photographed in 
miniature, of course! of shimmering cut glass and mir- 
rors in which the lights reproduced themselves infinitely, 
splitting their rays, glancing off the sides, disintegrating, 
fluid, restless, mobile . . . 

It did not take much — paper cubes, a Model No. 4 
Erector Set (tlic one with the motor I. two toy trains, an 
electric bulli and a few equally homely accessories — 
but there was imagination to make these simple "props ' 
serve his purpose. (Incidentally, I might mention here 
that close-ups were achieved in a most peculiar manner 
by Florey. He had, of course, no regularly equipped 
(Cnnlinited on pageS19) 


Startlingly Effective 

I.^.^X.IIC'*' 1929 

n O V ■ I: »• « K ■ It <k 


adapted for Koda- 

volor pictures. 

Kodascope B, adapt- 
ed for Kodacolor pro- 

Kodacolor Results 
90% Excellent/ 

iVloRE than 90% of the Kodacolor pictures 
made by amateurs and sent to Rochester for 
processing have been exceptionally good. 
Although no proof of Kodacolor's success 
was necessary beyond the rigid tests through 
which the process passed before its introduc- 
tion, still the uniformly high quality 
of the amateurs' results is none the 
less gratifying to all concerned. 



JAIWllAR'*' 1929 


A ccuracy 

HIGH speed lenses such as the 
/ 1.5, / 1.8, and / 2, because of 
their tremendous apertures, 
should be fitted individually to the 
cameras on which they are used if 
best results are to be obtained. Wide 
aperture lenses are corrected to give 

maximum sharpness of image pos- 
sible even at their widest openings 
and lenses with speeds of / 2 and 
more should be used with the utmost 
attention to accurate focusing. But 
correct focusing on the part of the 
amateur will be of no avail if the fast 
lens is not originally mounted accu- 
rately. The safest plan would be to 
have the lens manufacturer or some 
reliable camera mechanic check up 
on the mounting of lenses of this 
type. This latter applies to telephoto 
lenses as well, not only with regard 
to focus but also in securing proper 
alignment of the finder for the cor- 
rect field of view as imaged on the 
film frame. 

Telephoto Titles 

FOR some time past I have made 
titles for my films, using the title 
board with the movable celluloid let- 
ters. The method is a satisfactory 
one — but I became worried by the 
monotony of the titles. They were 
always the same size letters and did 
not have any variety in their com- 
position. While searching for some 
way to eliminate this I conceived the 
idea of using my telephoto lens as 
a means of introducing variety. I 

set up my title in the usual way and 
adjusted my lens at four and a half 
feet. Then by looking through the 
finder I was able to see the effect 
presented on the board. If it was not 
satisfactory I moved my board back 
to a distance of six feet. In this way 
I was able to secure letters of vari- 
ous sizes and the results have been 
most satisfactory. By using the one 
inch lens for certain titles and the 
six-inch lens for others, I have been 
able to introduce a variety of effects 
that are very pleasing when the film 
is projected on the screen. — T. H. 

Edited by Walter D. Kerst 

Fade Device 

T HAVE found an easy way to make 
*• a fade in and out device that can 
be produced at moderate cost and is 
most convenient to use. Being only 
three inches in width and six inches 
in length it fits snugly into the vest 
pocket. I took a piece of clear win- 
dow pane glass and cut two pieces 
to the size indicated. I next smoked 
one of the glasses, starting at one 
end with a total black and gradually 
fading to clear glass at the other end. 
This requires some patience to ac- 
complish but can be done after one 
or two trials. The other piece of 
glass was then glued to the smoked 
side of the first piece to keep the 
soot from being rubbed off. To fade 
in, hold the dark portion over the 
lens and gradually move it up or to 
one side, as preferred, across the face 
of the lens until the lens is covered 
only by the clear glass portion. The 
speed of the fade can be controlled 
by the operator. To fade out, re- 
verse the procedure of fading in. 
D. William Gibson 

Camera Truck and 

FOLLOWING the suggestion of Mr. 
Syril Dusenbery in the November 
issue of Movie Makers I constructed 
a camera truck using a pair of rubber 
tired skates for wheels. I took a radio 
console cabinet packing box and re- 
inforced it at the bottom so that it 
would hold the weight of the camera 
and the cameraman. It is hollow in- 
side so that the camera can be brought 
to a very low level. Standing the tri- 
pod on the edges of the box brings 
the camera to a higher level. 

The large sides of these radio con- 
sole packing boxes can also be made 
into tinfoil reflectors that will cover 
a large area and give a long throw to 
the reflected light. Make some paste 
out of flour and water and secure the 
tinfoil to the detached sides. The in- 
ner sides of these boxes are usually 
constructed of light wood material 
giving a good backing to the tinfoil. 
One box should give five or six reflec- 
tors of different sizes. 

Wallace W. Ward 

Professional 16 mm. 

■^rlNE reels of 16 mm. pictures, 
*• ^ crystal clear and easy to look 
at on a screen thirty-nine by fifty- 
two inches, were shown by League 
member, Richard H. Reed, recently 
to a group of 200 people at the Ad- 
vertising Club in New York City. The 

throw was a distance of fifty feet and 
the pictures when viewed at a point 
eighty-five feet from the screen were 
comparable in brilliance and quality 
to the effect obtained when viewing 
35 mm. professional film from the 
last row of one of the mammoth mod- 
ern motion picture palaces. It is safe 
to say that 200 more persons could 
have viewed the films with ease. The 
significant thing about this amateur 
film show was that it brought 16 mm. 
projection into the realm of profes- 
sional exhibition, not only in regard 
to the number of people accommo- 
dated but from the standpoint of pro- 
fessional screen results as well. It 
proved beyond the shadow of a doubt 
that with photographically good film, 
a good screen surface and plenty of 
light in the projectors (two were used 
alternately for this particular show- 
ing) any amateur can stage a pro- 
fessional show with his 16 mm. film. 


yvZHEN natural color film ap- 
'^ peared on the amateur horizon 
the lack of color in regular films 
became more apparent and those ama- 
teurs who wanted to make films in 
color but who could not afford the 

equipment were in somewhat of a 
quandary. It is with this thought in 
mind that the suggestion is made to 
amateurs who desire to add color to 
their films to either tint and tone 
by chemical means or by the use of 
colored discs in front of the projec- 
tion lens. With these colored discs a 
single or multiple color effect can be 
obtained at will and a beautiful land- 
scape at sunset in cold black and 
white is greatly enhanced when it is 
projected through a red disc, which 
spreads a delicate glow over the scene. 
The color combinations are also most 
effective, many shots lending them- 

IM O 'W ■ C »■ /% lA F R < 

selves to this type of color jsrojection. 
The cost of these attachments is slight 
compared with the results obtained 
and the use of them will in many 
cases increase the beauty of the pro- 
jected films. In addition, the use of 
such devices will serve to acquaint 
the amateur with color preparatory to 
his probable later work in a natural 
color process. 


A NY amateur who has a projector 
** with the "stop on film" feature 
can make enlargements from single 
frames of his movies. With my De 
Vry type J standard projector I have 
made enlargements up to sixteen by 
twenty inches. Remarkable clearness 
is evident in the finished prints and 
with a good negative no grain is ap- 
parent on a piece of rough surface 

enlarging paper. To enlarge, stop 
the projector on the frame desired 
and focus the image sharply on a 
piece of sensitized photographic 
bromide paper. (See page 640, Oc- 
tober, 1928 Movie Makers.) One 
or two trials will show how long the 
light should be allowed to act on 
the paper. The developing is done 
in the usual way. — Walter J. Greek. 

Great Idea! 

nPHE Eastman Kodak Company 
■*• sends an interesting item on a 
unique use of the amateur cine ca- 
mera in connection with the construc- 
tion of a house. The Smiths wanted 
to remember the months while their 
home of homes was being built and 
so when the plow dug its first furrow 
in the site Smith set up his camera 
and tripod on the scene, marking the 
position of the tripod legs with three 
stakes driven firmly into the ground. 
The camera whirred off several feet 
of film as the plow turned over the 
ground. A week later the excavation 
was complete. Still another week saw 


the foundation a foot above the 
ground. Shooting continued every 
few days thereafter during the early 
stages of erection. As the house came 
nearer completion the construction 
progress was not so rapid and pic- 
tures were taken only about every 
two weeks or so. A few feet were shot 

each time, the tripod being placed 
exactly in the same position accord- 
ing to the stakes in the ground. 

Several months later came the 
housewarming party. On the screen 
flashed a title and a picture of horses 

plowing in a vacant lot. The picture 
then faded into a scene showing the 
completed excavation. Gradually 
from the hole in the ground the house 
reared itself, a jerk at a time, until 
it was complete, from the foundation 
to the tip of the topmost gable. The 
film closed with a scene of the Smiths 
bowing to the assembled guests. 

Editing Desk 

f~^ OOD work requires good tools 
^~-' but many amateur editors work 
under the handicap of poor accom- 
modations because they do so little 
work that the cost of an editing desk 
does not seem to be warranted, or be- 
cause the limited floor space of city 
apartments does not provide room 
for a permanent fixture. A home- 
made editing box meets both objec- 
tions. It is not costly and it can be 
tucked away when not in use. Even 
in these days of the corrugated paste- 
board box it is possible to obtain a 
wooden one from the grocer. One 
large enough to afford working space 
should be selected. If it is too deep 
it can be cut down to a handier depth 
but it should be deep enough to con- 
tain the rewinds and other apparatus. 

If tlie cover is not in one piece it 
should be cleated on the ends with 
hardwood strips. Put hinges on one 
side, a hasp and staple on the other 
and a lock to guard against meddling 
if this is deemed necessary. 

Another box should be knocked 
down to get material for compart- 
ments to hold the rewinders, splic- 
ing machine and the other details of 
equipment. Toward the front an in- 
spection plate should be set. This 
may be either a square of ground 
glass set flush with the surface or a 
square of tracing cloth. Below, but 
not directly underneath, should be 
either a low wattage incandescent 
bulb or a "miniature"' socket for an 
automobile lamp, using dry cells, 
where it is not expedient to tap the 
house current. In either case a pull- 
chain socket should be used and a 

cord employed to extend the chain 
to the outside of the box, so that the 
light may be operated without raising 
the lid. Legs may be provided to fit 
into iron strap sockets at the four 
corners, or sockets may be made of 
wood. In either case the tongue fit- 
ting into the socket should be nar- 
rower than the other end of the leg. 

Unless tube cement is used there 
should be a solid base holder con- 
trived for the cement bottle and pre- 
ferably nailed to the top of the box. 

If it is not practical to work with 
tools or skill is lacking, a carpenter 
can make such a box for under ten 
dollars. When even a box of this sort 
is too cumbersome a good inspection 
plate can be made from a tin candy 
box or similar container. The ground 
glass or tracing paper is put into the 
top and the lamp is set inside, a 
hole being punched for the cord 

which is passed through before the 
wires are connected to the plug or bat- 
teries as the case may be. A strip of 
asbestos board should be placed in the 
bottom if the box is to rest on pol- 
ished surfaces which may be affected 
by the heat. In default of the board, 
a paste can be made of asbestos ce- 
ment and spread on the bottom of the 

Another useful editing tool is a 
wood-strip of convenient length with 
a cross-section of about one by two 
inches. Headless finishing nails are 
driven into the wider surface about 
an inch apart. The film is slipped on 
these brads and permitted to hang 
down over the edge of the table, care 
being taken not to tear the perfora- 
tions. — Epes Winlhrop Sargent. 

Films Wanted 

T EAGUE member Lim Kean Chuan, 
•L' 8-A Logan Road, Penang, S. S., 
would like to exchange films he has 
made in his country, including cere- 
monies, tribal customs, etc. for sports 
subjects, such as the tennis matches 

at Wimbledon, the national tennis 
championship matches in America, 
the recent Olympics at New Amster- 
dam. Holland, auto races at Daytona 
Beach, Florida, and others. If ex- 
change is not desired. Mr. Chuan will 
be glad to purchase such films pro- 
viding they are in good condition. 


VAIWmjARY 1929 


A Filmo camera and a Hall- 
dorson lamp enable you to 
make treasured movies of 
mother and baby, the old 
folks, relatives, friends, social 
gatherings, and other inti- 
mate mementos of home life. 
In this way you can make the 
most of holidays and long 
winter evenings. 

Making movies indoors with Filmo Camera and 
Halldorson Cinema Mazda or Arc Lamp 

Halldorson Light 
with short stand 

This light is the same as that shown 
in top illustration, except that, in- 
stead of being tripod equipped, it has 
a short stand with protected tips for 
placing on a table or chair convenient 
to scene of action. Price, including 
carrying case, is $31.00. 

IT is not only possible but easy to make indoor 
motion pictures with a Filmo camera — either day 
or night. With only one Halldorson Mazda or Arc 
Lamp, such as any Filmo dealer can supply, you can 
take intimate closeups of the children, the family, 
or small groups of guests — using either Filmo 70 or 
Filmo 75 camera with regular F3.5 lens equipment. 

By using an additional lamp or two and Filmo fast 
1.5 lens (instantly interchangeable), indoor movies 
of larger groups in spacious rooms may be made. 

The Halldorson Arc Lamp designed for this pur- 
pose is self-contained in a handy carrying case. A 
sturdy canvas case is furnished for the tripod stand. 
The lamp operates from any electric light or wall 
socket, furnishing a steady blue-white light of great 
actinic value. Ideal for every kind of home or studio 
movie making. 

The Halldorson Cinema Mazda Light with tripod, shown 
in the scene above, uses a 1000-watt mazda bulb and the 
silvered reflector greatly amplifies and distributes this power- 
ful light with a very even brilliance. The price, complete with 
carrying case and twelve feet of cord, is $37.50. See a Filmo 
dealer, or mail coupon on next page for descriptive literature. 

Arc Lamp 

simple, safe, compact and 
portable — the finest all-pur- 
pose indoor lamp you can buy . 
Price, complete with all parts 
as illustrated, $65.00. 


1*1 O ^^ I C 1*1 /« IC E R 9 


Film editing, cutting and 

splicing made easy with the 


Film Editer 

Aligning tiie Filmo cnmna 
preparatory to "slioottng ' a title 
with the Sewah Titling Outfit 

The Bell & Howell Film 
Editer is an accessory every 
magnifies each picture nine 
times and causes it to appear 
right side up instead of "on 
end" when viewed from side. 
A tiny lamp illuminates film 
from beneath . Editer can be 
secured separately or with 
rewinder and splicer, 
mounted on same block, as 
shown . See Filmo accessory 
booklet for complete details 

Pleasanty profitable evenings 

editing and titling your films 

EDITING and titling make that great difference between a movie tiiat 
is finished, self-explanatory and entertaining and the unrelated collec- 
tion of film scenes as taken from the camera. You will never regret the 
pleasant moments you devote to arranging and titling your films when you 
use the simple equipment that Bell & Howell have made available for 
this purpose. 

With the Film Editer shown above, you can see the individual frames of 
your film magnified ?Mwe times. Ideal for purposes of editing, or deleting 
unwanted frames. Geared rewind operating in either direction gives you 
editing speed. Cutting and splicing equipment is mounted on the same 
block for quick, velvet-smooth splices. 

For titling your films, to identify scenes for your audience, you have a 
choice of several excellent Bell & Howell devices. The finest of these is the 
Bell & Howell Character Title Writer shown at right. It is an illuminated 
stage upon which hand lettered titles, animated cartoons, moving auto- 
graphs, insert illustrations and miniature scenes may be photographed in 
true professional manner. The camera is fixed firmly in place back of lamps. 

Or, if more moderately priced titling equipment is desired, you may choose 
either the Filmo Title Board with movable celluloid letters or the Sewah 
Titling Outfit, illustrated at top of this page. 

For full descriptive information and prices on these and hundreds of 
other highest quality movie accessories, mail coupon for the Bell & Howell 
Accessory Booklet. Consult your Filmo dealer for demonstration. 


Dept. A, 1828 Larchmont Avenue, Chicago, Illinois 

New York, Hollywood, London {B. & H. Co., Ltd.) 

Established 1907 

Make titles, animated cartoons, etc. 
with the 




Mail Coupon for 
Complete Filmo ^^^ 
Accessory ,>kIw! 


1828 Larchmont Ave., Chicago, 111. 

Please mail me your complete 46-pagc Filmo Acct 
scry Booklet illustrating, describing and pricing j 
items advertised in January Movie Makers, as wi 
as hundreds of others. 


aAWWAKY 1929 


Digit Drama 

APROCESS-SER\ ER has sued 
Gloria Swanson for twenty- 
five thousand dollars damages 
for slapping him. That is not the 
wav to feel about the touch of a wom- 
an's hand. — .\eu Yorker. 


THIS month's little lesson for ama- 
teur film editors concerns a small 
tabulating machine, resembling a 
stop-watch, with which the profes- 
sionals count the number of laughs 
per linear foot in their comedy mas- 
terpieces. The device has two dials, 
one of which registers the '"giggles, 
or light laughter." and the other, not 
to be too nice about it. "the roars, or 
bellv laughter." When a film is 
"previewed" the executives sit at one 
side and "clock the laughs," distin- 
guishing carefully between the two 
varieties. If there are not sufficient 
''bellv laughs" per reel somebody 
gets out the shears and enough foot- 
age is amputated to make the comedy 
the excruciatingly funny thing the 
advertisements say it is. 

Second Rater 

THIS concerns \S alter Anthony, 
who juggles verbs and nouns 
for Universal pictures. His secre- 
tary fairly worships each subtitle 
that conies, polished, from his type- 
writer. Thev were in the projection 
room recentlv and there flashed on 
the screen : 

'■ 'Yea. though I walk through the 
valley of the shadow of death. I will 
fear no evil: for thou art with 
me. . . .' " 

"Oh. Mr. Anthony," she whispered 
in deepest awe. "did you write 

There was a pause and Anthony 
answered : 

"No — a fellow named David wrote 
those words." 

L pon which there was a con- 
temptuous though faint sniff. — 

Business Men's Lunch 

BUSINESS was bad last week." 
"How bad?" 
"Grosses on the tablecloths at the 
Astor fell off forty millions." — 




BEST talkie gag of the month, fer- 
reted out by Walter Winchel. 
Overheard at a dialogue picture: 
"^ es. Mr. De Mille. Yes. yes, yes, 
Mr. De Mille." 


Is Hoping They Used Sugar for the Sn 



Literary Information 

THIRST it must be explained that 
•*■ several years ago when a couple 
of Frenchmen got together in Los 
Angeles to open a restaurant they 
decided, being patriotic, to name 
their establishment after one of the 
greatest of Frenchmen, Victor Hugo. 
\ ictor Hugo was a great guy and the 
Victor Hugo, Los Angeles, became 
and is a great restaurant. 

Now to switch the scene. In one 
of the biggest studios there is a great, 
big supervisor. So big. in fact, that 
he gets two thousand dollars a week 
salary. A script w-as recently brought 
to this supervisor, a wow of a script, 
and on the first page of the scenario 
he saw these words, "suggested by 
the story of Victor Hugo." 

The great, big supervisor read the 
story. To prove he was a bright 
boy, he recognized it as one of the 
great stories of all time. So he 
pushed a buzzer for a yes-man. 

"Say." commanded the supervisor, 
"you hustle right down to Los An- 
geles and get this V ictor Hugo under 
contract. Tell him to sell his restau- 
rant. We want him up here among 
our writers." 


PSTELLE TAYLOR was watching 
■'— ' a mother cat and five suckling 
kittens on the ship that Ralph Ince 
used for the bounding main sequence 
of "The Singapore Mutiny." 

''There's a great big cat down- 
stairs, ma'am. " vouchsafed the skip- 
per. "He never comes up. Stays 
down there all the time ketching rats 
and mice." 

'"He never comes up?" mused 
Estelle aloud, watching a tiny kitten 
amble across the deck. 

"\^ ell. ma'am, that is hardly 
ever." — Photoplay. 

Professional Touch 

BEING an amateur projectionist in 
the front room with Junior as 
assistant is all very well, but don't 
you ^vish vou were a professional 
projectionist in Chicago, where the 
Union required the exhibitors of 
"Wings" to employ eight (8) men 
all the time, at SI 00 per week, each, 
for a five day week? The fact that 
the operating booth could not ac- 
commodate as many as eight men 
made no difference. Union rules are 

|»|0'%'IE 1M/%I4CR» 

At Dawn or Dusk .... Midnight or Noon 
. . Indoors or Out — You Can Make Movies with 


KODALITE opens an entirely new field of interest for the movie 
maker. It sweeps away the barriers imposed by the limitations 
of natural light, and elevates movie making in the home to a 
24-hour possibility. 

Kodalite enables you to obtain brilliant, beautifully lighted movies 
of the events that transpire after the sun goes down — intimate, price- 
less scenes in the home that can be obtained in no other way. 

Kodalite operates direct from the home lighting circuit. Its 500-watt 
lamp makes possible the use of two units on the same current outlet, 
without special fusing. A specially designed reflec- 
tor utilizes the maximum power of the 500-watt 
lamp, so that two Kodalites, properly placed, pro- 
vide ample illumination for ordinary work at/.3.5. 

At your Cine-Kodak dealer's 



Koihilife is easy and economical to 
operate, and (jires maximum illumi- 
nation. With adjustable tripod, con- 
iicclinij cord and switch, it is priced 
at S-'J. Tlic lamp is priced at $i.85. 


This handy case uccoiumodafes luo 

complete Kodalites, with dijfusers, 

spare latnps, etc. It is priced at 



For use on table, chair, or 
other low po.sition. ftub- 
ber knobs prevent .scratch- 
ing. Stand only, Sl.'iO. 

.R/irkimiyUC'V 1929 


A 100-foot "Film Story" for New Years 

By Marion Norris Gleason 

Scene 1: Title: Resolved — 

Scene 2: A^ear vt«<; in the Jones' living room. Mr. and Mrs. Jones, Bobby 
and the dog stand by the window. Mr. Jones is writing in his 
pocket note book while Mrs. Jones dictates. 

Scenes 3: Close-up of the note book. At the top of the page is 
"January 1st." Underneath Mr. Jones is finishing writing — 
'Wo more profanity." 

Scene 4: Near view of group. Mr. Jones smiles with satisfaction, closes 
book, kisses Mrs. Jones, picks up a wreath with "Happy New 
Year" across it. He goes out followed by Bobby who carries 
a hammer, and the dog. 

Scene 5: Long shot outside front door. Door opens and Mr. Jones comes 
out carrying a stepladder. Bobby follows carrying the wreath 
and hammer. He is leading the dog by a very long rope 
which he has coiled in his hand. Mr. Jones stands the step- 
ladder on the porch in front of the door and mounts it. He 
asks Bobby to hand him the wreath. Bobby ties the dog to a 
leg of the ladder and then climbs up a step or two and hands 
his father the wreath. Mr. Jones tries it here and there, then 
calls for Mrs. Jones. Bobby goes around the house with the 
hammer followed by the dog. Mrs. Jones comes out and 
advises Jones where to put the wreath. 

Scene 6: Near view of Bobby at the side of the house hammering at his 
wagon or whatever lends itself to being hammered. The dog 
sits beside him and the rope is obviously around some sub- 
stantial object such as a narrow tree trunk or a stump or stake. 

Scene 8: Near view of front of house. Jones and Mrs. Jones have de- 
cided on the proper place for the wreath and Jones, holding 
it in place, looks for Bobby and the hammer. Not seeing them 
he calls loudly and wrathfuUy. 

Scene 9: Close-up of Jones holding wreath and calling, "Bobby!" 

Scene 10: Close-up of Bobby and dog hearing call. Try and get dog to 
prick up ears. 

Scene 11 : Close-up of Jones calling louder. 

Scene 12 : Near view of Bobby and dog starting to run. The dog should 
be jerked back by the rope. 
Close-up of the rope tied to the end of the ladder leg jerking 

and the leg tipping off the ground. 
Close-up of Jones grabbing wildly at the wreath for support. 

It comes off in his hands and he waves it wildly. 
Near view of Bobby running around the corner of the house 
followed by the dog straining at the rope. Bobby stops and 
registers horror. 

Scene 16: Near vieiv of Jones on the ground with the wreath around his 
neck, the ladder on ground. Mrs. Jones is admonishing him 
to be careful. 

Scene 17: Close-up of Jones, his mouth opening and shutting in a violent 
effort at self control. He takes his book out of pocket and 
tears the sheet of New Year's resolution out, Uien swears long 
and pleasurably. 

Scene 18: A^ear vieM' of group. Jones is indulging in an orgy of profanity, 
Mrs. Jones has her hands over her ears, the dog does as he 
pleases and Bobby snickers behind his hand. 

Scene 19: Title: The End. 





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Perhaps Yoli Will Find an Appropiiate Use for the 

Art Title Background on the Facing Page. One is 

Suggested in the Miniature Above. The Study is by 

O'Dell Mason, the Titling by Ralph R. Eno. 


((Continued jrom page 867) 

Studio to work in — only his own 
room. He painted two sides of the 
walls black (much to his landlords 
later chagrin j and when photograph- 
ing a close-up of one of his players, 
had him hold an ordinary electric 
bulb in his hand, throwing the light 
on his face. When the player changed 
his position, he merely switched the 
lighted electric bulb from one hand 
to the other. In other words the play- 
ers were also electricians, while the 
director himself essayed at one time 
or another the roles of actor, cam- 
eraman, electrician, director, assist- 
ant director, film editor, author and 

The Loves oj Zero was made some 
months later. It is the Harlequin- 
Columbine story done in the manner 
of the post-war German expression- 
ists. Where The Hollywood Extra 
cost ninety-seven dollars to make, 
this one cost .S200. It tells the serio- 
comic story of an ab.'^urd Harlequin 
W'ho plays his trombone while court- 
ing Columbine. An ecstatic courtship 
follows and then Columbine is called 
away, much to her and his chagrin. 
Harlequin tries to console himself 
with another ravishing creature but 
she only laughs at him and goes away 
with two flaneurs. His despair lasts 
until news comes of Columbine's 
death. This is too much for him. He 
is haunted by e\il. leering faces. A 
huge hand closes in on him and snuffs 
out his unhappy existence. 

There are several interesting uses 
of double and triple exposure. Florey 
frequentlv uses the former to picture 
a "thought process". The latter he 
uses with parlicularlv striking effect 
in picturing a girl laughing derisive- 
ly, superimposing her eyes and laugh- 
ing mouth over her face. He uses the 
prism, too, with telling effect during 
the scenes of the courtship — switch- 
ing from the clown to the eirl and 

an acre of fulfillment is 

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subjects. It's operation is simple; pulling the 
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We've told you what Little Sunny Twin is and 
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JAUIftJARY 1929 

Perfect Home Movies 

with the'- 




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The new Model 3 Victor 
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interchangeable lenses for 
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picture, and several new 
features, foremost of which 
is a newly discovered me- 
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damage to the film. 

Complete information from your dealer or write 
the manufacturer 

Victor Aniiriatograph Company, Inc. 


Davenport, Iowa, U. S. A. 


242 West 55th St., New York 

showing their smiling faces in mani- 
fold — a sort of overwhelming happi- 
ness, as it were. He frequently photo- 
graphs a scene topsy-turvy in order to 
achieve a sense of weight and power 
though always in relation to the con- 
text, and never as an end in itself. 

The Coffin Maker, with a Poe-like 
scenario and a dash of Baudelaire and 
Heine at their bitterest, was made in 
one night with only a few retakes nec- 
essary the next night. It was Florey's 
contention that the average film pro- 
gram badly needed two-reel dramas 
(similar to the Will Nigh miniature 
dramas, Among The Missing and The 
Guest) as a relief from the usual 
stereotyped and altogether silly two 
reel comedies, especially when there 
was a feature length comedy on the 
bill. It was Florey's plan to make a 
series of these two reel dramas on the 
style of the Parisian Grand Guignol. 

One night Florey picked out some 
players, more or less haphazardly, 
borrowed three cameras and without 
a written script or scenario got to 
work. He had a rough idea of what 
he wanted. He needed just a few sets 
— a coffin maker's workshop, a lonely 
room of mourning and a graveyard. 
There were only four main characters 
— a lonely coffin maker, an Apache, a 
beautiful courtesan and a young sol- 
dier. The Apache, the soldier and the 
courtesan come up from their graves 
and relate to the coffin maker, over 
wine and cigarettes on a cold, dreary 
night, how each met his demise. When 
their stories are told ( Florey uses the 
flashback here) a lady dressed in 
black comes to the coffin-maker with 
the words, "Don't you know me, 
coffin-maker? I am your bride — 
death." And together they disappear 
into the recesses of a yawning wooden 

This is strong digestive fare for 
cinemagoers accustomed to the sac- 
charine, but it is honest and true and 
done with admirable restraint and 
economy of detail. Florey does not 
wax unduly sentimental over his 
theme. He presents it for what it is 
worth and lets it go at that. Through- 
out, the photography is dark and 
sombre with now and then a weird 
camera angle or a startling composi- 
tion in close-up. 

A word about Florey. He was born 
in France thirty years ago, became 
associated with the late Max Linder 
there, worked in pictures in Italy, 
France and Switzerland, came to 
Hollywood eight years ago, served as 
assistant director to Vidor, Bob Leon- 
ard, von Sternberg and others, pro- 
duced some program films for Colum- 
bia, Sterling, etc., and is now with 
Paramount at their Long Island 
studios where, under the supervision 
of Monta Bell, he has made a number 

10%' IE IM/%>^CR» 

of short subject talking films of which 
Night Club is to be released soon. His 
next is The Pusher In The Face from 
a story by F. Scott Fitzgerald, an- 
other sound film. 


{Continued from page 865 ) 

true metier of the motion picture. 
And, certainly, Metro-Goldvvyn- 
Mayer deserves extraordinary praise 
for bringing all of these elements to- 
gether to achieve a result which, it 
can be predicted with confidence, will 
long be considered one of the great 
classics of the screen. 


(Continued from page 851) 

moving camera. Methods of using 
this device have been discussed in 
Movie Makers for November 1928, 
pages 707 and 715. The expression, 
CUT, simply means the end of a scene. 

Here are a few scenario cautions. 
Do not over-estimate the length of 
story that can be told in a given 
amount of film. Do not include more 
characters than are absolutely neces- 
sary to the story, as you are not work- 
ing with paid employees but with 
friendly volunteers and the fewer you 
have the more certain you are of get- 
ting them where and when you want 
them. Take enough film length to 
register the separate identity of each 
character by letting the audience see 
that character long enough to get face, 
costume and manner firmly fixed. If 
this is not done confusion will result 
and those watching the finished pic- 
ture will get hero and villain hope- 
lessly mixed, especially if the action 
speeds up. Better build your early 
film-stories round a brief and simple 
incident. Plan the time your filming 
will take and if your story calls for 
more time than you have at hand, trim 
down the story and not the time. Re- 
memlier that time also means film and 
that film means money. 

The scenario written, the next es- 
sentials are director and cameraman. 
If possible, and particularly in youi 
first attempt at a film-story, don't try 
to do both jobs. Each of them, even 
in a simple bit of story telling with 
a movie camera, is a task of its own. 
If you, as owner of the camera, want 
to make that position certain for your- 
self — on the principle of kid base- 
ball teams choosing the catcher be- 
cause he owns a mask and glove — let 
your wife or a friend do the directing. 
Be sure to have all of your arguments 
before or after the filming starts. Once 
it has begun, the director is supreme 
and if he cannot handle his job, stop 


stands between 

-r — excepting 

a few simple 

facts aboil t- 

This booklet is free 
to all who ask for it. 
It is simply n'ritten, 
informative and in- 

The unprecedented 
demand for this 
booklet proves that 
the amateur is in- 
terested in giving 
his films the profes- 
sional touch. 

"~ ~ Mr. Otto Nelson of the National Cash Register Co., 
pioneer in the use of educational motion pictures; compiler 
and editor of "Thirty Years of Motion Pictures," the 
authentic story in pictures of the development of the in- 
dustry; and one of the recognized authorities on amateur 
movies, writes: 

"The method of editing and titling described in tlie 
booklet 'How to Edit Amateur Mories' is the best, simplest 
and most inexpensive that has come to my attention. Every 
amateur movie maker should read this booklet." 

245 WEST 55TH ST., NEW YORK, N. Y. 
Telephone: Columbus 6974 





:./ ^^' 



19 2 9 


Are you the lucky owner of a 
I6mm projector this year? 


T^AKE all the interesting family and per- 
-'■ sonal pictures you can. What a satisfac- 
tion it was to take your friend's picture with 
a still camera. But, Oh Boy! What a triumph 
when you successfully "shoot" them with your 
moving picture camera. And the laugh, the 
thrill, the feeling of complete satisfaction 
when they walk and act for you on the screen. 

Arrange a party and give your jriends a show — 


1. One or two EMPIRE COMEDIES. 

2. 200 or 400 ft. of personal pictures. 


4. 200 ft. of personal pictures. 


Note: If it is a children's party, run 


Empire 100 ft. reels to complete your persona! program. 





Send in for special dealer proposition. 

723 Seventh Avenue 
New York City 

Please Mail Me An Empire 16 mm. Subjea Catalogue 

T^ame _.. 


the show and get another. You, as 
cameraman, will get best results if 
you are completely free to operate 
your instrument. Give the director full 
charge of the script, the actors, the 
properties and the costumes. He must 
see that there is no confusion and that 
everybody and everything is available 
when and as needed. In larger pro- 
ductions, he will deputize assistant di- 
rectors and other helpers with many 
of his own powers and turn details 
over to them. The script goes to the 
director, although you should keep a 
copy of it. He should read the scenario 
aloud to the cast. A synopsis of the 
story should have been read to them 
before they hear the full scenario. 
Before each scene is filmed, the script 
for it should be read aloud to all the 
actors to make sure that it is perfectly 

While the director rehearses the 
actors in a scene, the cameraman will 
make note of lighting conditions and 
will set up his camera, being sure that 
all accessories needed are at hand. 
\ our first production will probably 
be an all-exterior story. Reflectors 
will be desirable even if the shooting 
is out of doors in good sunlight. These 
can be prepared very easily, your 
projection screen, for example, serv- 
ing admirably. 

Each scene should be carefully re- 
hearsed before it is filmed. The direc- 
tor must slow down the action con- 
stantly as the amateur actor tends to 
be hurried and the resulting jerky 
and quick motions are very unpleas- 
ant on the screen. If he is not careful 
the natural tendency to move rapidly 
combined with some camera shyness 
will completely obscure the meaning 
of the story when it is screened. When 
the action of a scene has been filmed 
the director should call out. "CUT!" 
as a signal to the cameraman to stop 
the camera. Leave this decision en- 
tirely with your director or else you 
may stop the camera too soon, making 
it necessary to repeat the whole 
scene. If you feel that the director 
has forgotten the camera you may call 
out. "Shall I CUT?" but don't cut 
until you get the word. The director 
should make the "cuts" as clean as 
possible concluding each scene with 
just the action required and no more. 
If scenes are allowed to "peter out" 
before cutting, there will be a great 
temptation to let them stand in the 
finished film "because, after all, we 
have them and film is costly." The ac- 
tors should be told specifically when 
the scene is actually to be filmed and 
when it is only being rehearsed. The 
snap-shot principle sounds nice "to 
get naturalness," but it is a film-eater 
in the end, although it may work 
well once or twice. Beware of last- 
minute changes. The cameraman, after 


!M O %' I ■-. 

I /« K E R S 

setting up for a particular scene, 
should tell director and actors of the 
scene limits as he discoveres them in 
his finder. 

The cast will probably be chosen 
from your friends and, to a large ex- 
tent, the scenario may be written 
round the cast available. Remember 
that screen actors have no voices to 
help them sustain their roles and that 
everything depends on appearance: 
try to choose players to fit the parts 
assigned to them. Anyone who is mis- 
cast will appear to greater disadvan- 
tage in a screen story than in spoken 

Makeup will improve the appear- 
ance of the actors and may aid greatly 
in characterization. It takes time to 
put makeup on and, if you plan to 
have your cast use it, allow plenty of 
time for the process, for you will find 
that the players will take longer over 
their first make-up than you had ex- 
pected. The Amateur Cinema League 
has published a bulletin on this sub- 
ject, which may be obtained from the 
Photoplay Consultant of the League, 
105 West 40th Street, New York City. 
If make-up is to be used, actors should 
be inspected both by the director and 
cameraman before filming starts. 

Costumes and properties will de- 
pend on the story you are telling. 
These should be simple and, for your 
earlier efforts, costumes should come 
entirely from the wardrobes of the 
cast. Sets and locations again depend 
on the story which has been adapted, 
of course, to fit the facilities available. 
Unless you have lighting equipment 
and have experience in its use, your 
first effort would better be placed out- 
of-doors. This limitation is much less 
than would appear at first as veran- 
dahs, terraces, lawns and gardens fur- 
nish locations of surprising variety. 
In winter, the story will need more 
adaptation. If a small interior is abso- 
lutely necessary for a particular scene 
a corner outdoor set can be knocked 
together very easily. 

When you come to edit your film- 
story you will find it simplicity itself, 
IF the cuts between scenes are clean 
and IF you have followed your 
scenario exactly. The ease of editing 
is an advance proof of the excellence 
of the screened product. 

With a camera, film, a few friends 
and next to no accessories, you can 
produce a very good film-story if you 
follow these simple rules. When you 
have produced one you will say to 
yourself, "Why didn't I tackle it long 
ago?" It will answer once and for all 
the question of, "What shall I shoot 



scerps taken in davtime. Siin.'et used for moonrise. 

"C' Yellow A 1-2-3. Color factors Pan. ll/,s, 3x 
Orihi). 3. 6 and 8x. 

SCHEIBE DIFFUSING IRIS: Has clear-glass cen 

de for main object or close-up in sharp detail, leaving balance 
of scene diffused. $5.00 

SCHEIBE WHITE IRIS: Clear glass center vignetting to 
white glass edges. For spotlight effect to accentuate point of 
interest. $500 

SCHEIBE GRADUATED IRIS: Spotlight effect vignetting 
to black at edges. For forceful p'sitive accentuation. $5. GO 


Snow, ice and wet-surface glare 
make the use of filters imperative 
for good results. Wintry scenes 
taken with effect filters — ! For the 
love o' beauty, try them. 
Yellow optical glass, four degrees of dens- 
ity' $12.50 
MONOTONE FILTERS fur drtho., $3.50. 
for Pan,, $5.00 


Tliere is absolutely nothing to learn to use efTect 
filters — except to develop a taste for the right 
filter for the right scene. Filter Holder clamps 
over any lens on any camera. Filters slide into 
place before the lens as needed without change 
of focus or exposure. Holder made of aluminum, 
crystalline finish, can be carried with complete 
set of filters in the pocket or carrying case. 



Sole distributors lor Scheibe ,:iid Ramstnin Filters to fit Disso 


ve and Filter Holder 


yrir m#'tf»gcg#^meg 

""fojj^escribe it -We'll design it" 

106 WE ST 46 TH^ 




You learned what the Amateur 
Cinema League is by reading the 
editorial page of this issue. You 
are invited to secure membership 
in this international association of 
movie amateurs. 

To the Date 


105 West 40lh Street, New York City. 
I accept the invitation of the Amateur Cinema League, Inc., 
to become an annual League member. My check for Five 
Dollars payable to Amateur Cinema League, Inc., is enclosed in 
payment for the dues, $2.00 of which is the special member- 
ship rale for a year's subscription to IVfOVIE M\KKHS (Non- 
member rate $3.00; Canadian $3.25; Foreign $3.50.) 

inderstood that 
ship other that 













s of 








rily s 


e fro 




to t 



City State.. 

JiAI«m.l/%ItV 1929 


For the heme 


The ^Vsir 3Iacliiiie 

Exciting authentic excerpts from 
World War scenes. Two loo ft. 
reels. $12.00. No. 6027 

The Be!>it Man 

Mack Sennett comedy featuring 
Dilly Bevan. One 400-ft. reel. 
$25.00. No. 6025 

'I'll*' Eriiplitui of 9It. Cliiii 

Thrill-pictures. One 400-ft. reel. 
$6.00. No. 6oj2 

K. P. M. 

Motors, racing. One loo-ft. reel. 
$6.00. No. 6023 

lii't-'r Kal>l>i( :iii<l IIim I>al<!i 

Nature study. One 400-ft. reel. 
$35.00. No. 6028 

Tlic ^Vee ScoUli Pi|M>r 

Film oddity. One 400-ft. reel. 
$35.00. No. 6029 

3 Athlilional 

Siibjet'ls of the 



-V Bit of I.iie in .Isiiii 

Colorful! One 400 ft. 
reel. $35.00. No. 6026 


Absorbing! One 400 ft. 
reel. $35.00. No. 6022 


Educational! One 400ft. 
reel. $3500. No. 6024 

cvr ovT THIS coupoy .i.vd m iil 

Gentlemen: I 

Please send me free new catalogue of ', 

PATHEGRAMS, which can be tun on ANY I 

J6nim. projection machine. | 







{Continued from page 864) 

one reads, "NEWS", in swift sequence 
one wireless station dissolves into 
another, giving the impression that 
[he (.aniera is following the message 
across the earth. Next, a scene show- 
ing that the message has reached New 
York dissolves into a shot of the roll- 
ing presses followed by newspaper 
headlines. Then the Capitol at Wash- 
ington appears, followed by another 
wireless station and finally shots of 
cruisers racing over the water, troops 
moving forward and airplanes taking 
off. The end of the sequence returns 
us to the actors and the locale. The 
whole is intensely dramatic and an 
example of unusually fine cutting. 


(Continued from page 863) 

half-past three. In the morning you 
have to shoot the other way and make 
a choice between the sash and blind 
factory or Johnson's lumber yard for 
a background. 

You note with relief that tlie clump 
of willows is all right, and you get a 
really good picture there, but you're 
too late for the stepping stones and 
far too early for the swimming hole. 
That ought to be at its best about 
half-past four. 

Desperately you grind away, con- 
scious of the fact that Junior has his 
heart set upon being photographed 
today and not next week, when young 
Bradley will be away on a visit to 
his aunt. It is do it now or forever 
after face Junior's unspoken but none 
the less patent contempt. And because 
you are flustered and nervous you 
don't get even what there is to be had. 
You shoot and shoot, all the while 
conscious that every kid in the neigh- 
liorhood will he invited in to see the 
lesull and knowing full well what thr 
result will be. You go home willi 
plenty of exposed film, but without 
the little gem that the picture might 
have been had you looked ahead. 

If you can get into all this trouble 
with a twelve-scene sketch, you can 
imagine what a treat a longer and 
more ambitious effort will be. Had 
you used Poverty Row technique you 
would have checked up on these 
points. You would have noted that 
the sun came on the rosebush about 
half-past eleven. You would ha\e 
noted on your script the best time to 
snap each of the exposures along the 
creek. You would have laid out a 
time-table that would have taken you 
to each point at the proper time, and 
you would have saved a lot of worry 
and perspiration. 

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WE ofifer to the owners of 16 
lu/ni projectors an exceptional 
library service. 

In the first place, we are distribu- 
tors for Kodascope Libraries, Inc., 
and can give you a choice from a 
long list of professional releases, 
pictures that have been shown in 
leading theatres, dramas, comedies 
and other films. 

In addition, we have instituted a 
library of our own, comprising 
kodak Cinegraphs. These, as you 
probably know, are 100-, 200- and 
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based on the "Doings in Doodle- 
bugville" and on the adventures 
of "Snap, the Gingerbread Man," 
and "Chip, the Wooden Man." 
Wonderful for parties. The children 
will thrill over the clever screen 
antics of these realistic, mechanical 
actors. Send for a catalog. 

Eastman Kodak Stores, Inc. 

The Kodak Corner— Madison at 45th 
225 West 23rd, near 7th Ave. 
New York City 


With a longer script you would be 
even more careful in the preparation 
of your schedule. Longer stories 
generally require larger casts and 
their leisure time must be consulted. 
You don't write in a scene in your 
living room unless you are certain 
you have enough lights to overcome 
the dark tones of the walls. You 
don't wait until the set-up to realize 
that while the room is charming the 
color scheme is too dark for your 
light equipment. You either borrow 
more lights or, failing that, you select 
some other room — in advance. It 
will be the same with all other sets 
and locations. You'll be certain of 
them before you write them in and 
not be forced to last-minute changes 
that may pull your story all out of 

You will discover that a few days 
spent in preparation will be time 
saved instead of wasted. When you 
do come to shoot you can go from 
one point to the next with the least 
delay and work with the highest 

Delay is fatal to enthusiasm. Harry 
Meyers used to say that an actor 
needed three things — patience, some 
ability, and some more patience. It 
is even harder on the amateur to get 
back into the spirit of the story after 
a long delay. When you prepare a 
script look ahead as carefully as 
though you were down on Poverty 
Row. Don't write in things that you 
hope you can get. Write in the things 
you know you can get — and afford. 
Be practical and foresighted. Mak- 
ing pictures may be just your hobby, 
but you can't afford to be slipshod 
and careless. 

If you have eight to twelve weeks 
in which to make a picture, $60,000 
to work with and a staff of helpers, 
you can afford to emulate the "big" 
directors and hold your company in 
the field half a day while a property 
man dashes back to the studio for 
the blue shawl the heroine should 
have brought instead of the red one 
she did bring. But you can't do that 
with amateurs more than once — and 
perhaps not even once. 

Emulate Poverty Row. Plan every- 
thing beforehand and then see that 
these plans don't miscarry. It may 
sound like a lot of work and worry, 
but you'll find that intelligent plan- 
ning for what vou can get, plus care 
in schedule making, will mean far 
less work and worry than the inspi- 
rational style, which even yet is wast- 
ing half the production money on the 
big lots in Hollywood. 

Form the right habits now. and two 
or five years from now picture-mak- 
ing will still be a delight. 

be your 

for interiors! 

Fotolites have no equal for com- 
pactness, simplicity and light power. 
Fotolites eliminate the sputtering, 
the sparks and the "light fright" of 
the arc lamp — yet give all the bril- 
liance of an arc and also the conven- 
ience of the incandescent Fotolite. 
There are prices for every pocket- 
book — models for every need. 

Now, even on the darkest days and 
at night, you can take beautiful pic- 
tures. And you can take them 
where you have always ]onged to 
take them — right 171 your own 

No. 10 



home. The children at play, parties, 
dances, family events — every cher- 
ished scene and happening in your 
home — can be stored away in vivid 
life-like films which you will look at 
over and over again. 

The remarkable new No. 10 1000-watt 
Fotolite is recognized as the most power- 
ful lamp of its type ever produced. 

Because of the exceptional brilliance and clarity of its light. No. 10 has 
no equal as a source of interior lighting for movie making. And, because 
of its surprising compactness and simplicity, it is also ideal for home 
portrature and as an auxiliary in the studio. It can be folded into a 24- 
inch space, and can be carried anywhere in a room. And, like all Fotolites, 
it can be plugged in on any electric light socket — ready for instant use. 

No. 10 Fotolite with auxiliary single or double set of 
No. 5 Fotolites is ideal for every home movie shot. 

No. 10 is equipped with a nickel-plated Mogul socket and a nickel-plated 
tripod stand. Has aluminum reflector (measuring 11 inches in diameter) 
which can be tilted to any angle. Complete stand, including carrying case 
for reflector and case for stand, without bulbs: $22.00 No. 5 Single 
Fotolite complete with stand (without bulb): $12.00. No. 5 Double 
Fotolite, complete with stand (without bulb): $20.00. 

Ask Your Dealer to Demonstrate Fotolite For You 

Mdnufdctiired and Guaranteed by 


Most Light Per .Ampere — Lowest Equipment Cost 


A'%IWmJARY 1929 

New Projector 

ALOW priced 16 mm. projector, 
the Duograph, is announced 
this month by Mr. WaUer E. 
Greene, President of Duograph, Inc., 
of New York, N. Y. Mass production 
was arranged to bring down the price 
to a popular figure, notwithstanding 
the high quality of materials used in 
its construction. Die castings are sup- 
plied by tlie Aluminum Company of 
America, electrical appliances by the 
General Electric Company and the 
optical system by the Wollensak 
Optical Company. The lenses are in- 
terchangeable and are provided in 
one and one-half inch, two inch and 
two and one-half inch sizes. Focusing 
is accomplished by turning the lens 
mount in barrel. 

A coil-coil filament lamp with pre- 
f ocal base has been specially designed 
by the Edison Lamp Works. In con- 
junction witli the ingeniously ar- 
ranged optics, consisting of ground 
piano-condensers, mirroide reflectors 
and prismatic mirrors, this lamp pro- 
duces an amazingly brilliant picture. 
An important feature is the ability to 
hold single pictures on the screen with 
absolutely no fire hazard nor damage 
to the film. This not only makes the 
projector safe in the hands of a child 
but is of great assistance in the cutting 
and editing of films. Since tlie pro- 
jector is operated by a hand crank, the 
picture may be stopped on any desired 
frame. With reasonable care, proper 
oiling and cleaning, the Duograph 
should work perfectly for an unlim- 
ited number of years. It is guaranteed 
against any imperfections in material 
and workmanship for a period of two 

The Duograph was designed by Mr. 
E. William Nelson, one of the most 
noted motion picture engineers in 
the United States, who has devoted 
eighteen years to the building of the 
most intricate machinery for the mo- 
tion picture industry. His crystallized 
ideas are embodied in the Duograph. 
Fourteen years ago he designed and 
built one of the first home motion pic- 
ture machines using narrow width 
film. The amateur market at that time 
was undeveloped and Mr. Nelson's in- 
vention was a decade in advance of 
the industry. 

The president of Duograph, Incor- 
porated, is Mr. Walter E. Greene, a 
prominent motion picture executive. 
Mr. Greene was at one time vice-presi- 
dent of the Famous-Players Lasky 


For Amateurs and Dealers 
Travel Films 

THE Aladdin Travel Pictures are 
ofi'ered to film libraries this month 
by the Stumpp & Walter Company, 
New York, N. Y. The present offering 
is a film series of twenty-six 100 ft. 
16 mm. reels covering every quarter 
of the globe. 


President of Duograph, Inc., Manufacturers of the 

New Amateur Projector. 

Direct Sale 

facturer of the Little Sunny arc 
lamp, wishes to announce that in the 
future his products will be sold direct 
to tlie consumer. 

New Effect Set 

AN effect device for 16 mm. cam- 
eras consisting of an adjustable 
bellows sunshade, a title card holder, 
mask box for masks and filters, focus- 
ing microscope and compensating 
base, has been placed on the market 
by the C. P. Goerz American Optical 
Company. New York, N. Y. The en- 
tire set is supported on two rods upon 
which the camera is also mounted and 
the whole can be used either vertically 
or horizontally. With this set prac- 
tically all the professional effects such 
as gauze masking, iris in and out, spe- 
cial mask and filter effects and many 
others are available to the amateur. 
In addition the device is an efficient 
title stand. Because of the compensat- 
ing base and focusing microscope 
there is no guesswork connected with 
the proper centering of titles. It is 
an ideal device for the amateur who 
wishes to add a professional touch to 
his films. 

Film Specialists 

nounces the opening of its new 
office in the Salmon Tower Building, 
11 West 42nd Street, New York, N. Y., 
on January 2, 1929. This company 
specializes in the production of 35 or 
16 mm. films, as well as still pictures, 
of foreign countries in every part of 
the world. During January camera- 
men will start for the Mediterranean 
countries. Central and South America 
and the West Indies to fulfill assign- 
ments for various individuals and in- 
dustrial concerns interested in pictur- 
ing phases of their foreign business. 
Mr. Gardner Wells, a Vice-President 
and Foreign Representative of the 
company, who is well known in the 
industry, will make one of the most 
comprehensive sets of Mediterranean 
subjects ever filmed. Much of this 
material is to be used by a large com- 
pany distributing 16 mm. films of 
quality to the amateur. 

In addition to Mr. Wells, Mr. W. H. 
Schmidlapp, President of the com- 
pany, has the following group in 
active charge of production: Mr. 
Walter D. Kerst, Vice-President and 
General Manager, formerly Technical 
Editor of Movie Makers; Mr. Her- 
bert Angell, Vice-President, who has 
been connected with the photographic 
industry for the past twenty years; 
Mr. Donald P. Bennett, Vice-Presi- 
dent, formerly with the Educational 
Film Division of the Stanley Com- 
pany of America. Mr. W. J. F. Roll 
will serve as Secretary and Treasurer. 


T70R the first time since the begin- 
■*■ ning of the industry a professional 
type of reflector is being offered to 
amateurs by Arthur E. Gavin of Glen- 
dale, California. These reflectors en- 
able the movie maker to obtain pro- 
fessional lightings in his work and 
they also aid in getting clear pictures 
of subjects in shadow. The reflectors 
may be purchased separately or in 

New Library 

TPHE Hollywood Movie Supply 
■'■ Company, Hollywood, California, 
offers to private and dealers' rental 
libraries thirty full theatre-length 
features, many with all-star casts. The 
films are 16 mm. reduction prints in 
five 400- foot reels per subject. This 
firm is also producing 2000 feet on 
How Movies are Made. This is being 
shot on 35 mm. stock and 16 mm. re- 
duction prints will be made from the 
original negative. 




THE Technical Monthly Abstract 
Bulletin published by the Re- 
search Laboratories of the Eastman 
Kodak Company carried in its No- 
vember issue a note describing Drem 
Exposure Meters manufactured by the 
Drem Products Corporation. New 
York, N. Y. The Eastman Kodak 
Stores in New York City recently fea- 
tured the Cinophot exposure meter in 
a large window display. The Cino- 
phot is the meter that gives a direct 
reading of the exposure with all Cine 
Kodak cameras. 


announces the removal of their 
general offices to 6060 Sunset Boule- 
vard, Hollywood, California. The cor- 
poration, in addition to its Hollywood 
offices, also has offices at 311 Fifth 
Avenue. New York, N. Y. It is antici- 
pated that the company will in the 
near future be operating from Chi- 
cago as well. 

Projector Price 

THE new 16 mm. Victor Cine Pro- 
jector, announced in these col- 
umns in December, is to be sold at a 
price of $200.00. 


{Continued from page 848) 
small miniature sets in which move- 
ment was introduced mainly by mov- 
ing the lamp and casting shadows. 
Instead of trying to put the actor in 
these miniature backgrounds by trick 
work, the scenes were simply cut in 
successively so that you saw first the 
actor and then his mise en scene. The 
whole picture was cut in rapid stac- 
cato, very different from the rather 
suave, sluggish movement of The 
House of Usher. Anyway, it is a 

In order to make pieces of card- 
board against a black curtain look 
like anything at all, we adopted sev- 
eral types of image -distortion which 
I have been asked to describe. The 
professional camera man tries to give 
his pictures depth and charm by 
spoiling the definition of his lens with 
gauze and other diffusing mediums. 
As our sets and lightings were less 
perfect than his. we had to use more 
vigorous methods. Among these were 
prisms, kaleidoscopes and cylinder 
lens systems. 

To use these devices with any pre- 
cision it is really necessary for the 
amateur to be able to see the image 
of his lens on the film or on a ground 
glass which takes the place of the 
film for focusing. A view finder of 
the usual type is not good enough. 
However, focusing ground glasses for 









e r 

has become synonymous with every advancement in the 
art of cinematography, with products directly relating 
to the results obtainable with ORDINARY FILM, 








r subnormal 1, 
1, light condition f 


fwith FlLMOl 

Plasmats were developed by that pioneer scientist Dr. Rudolph chiefly to attain maximum 
color correction. This was one reason for the early popularity of the Kino-PIasmat F:1.5, 
although the wide versitility of this lens whether stopped down for general use or wide 
open for extremely difficult light conditions was perhaps an equally responsible factor. 
With the introduction of Panchromatic film the color correction properties of the Kino- 
PIasmat became markedly noticeable. With the coming of Kodacolor, demanding abso- 
lutely true chromatic register, the Kino-PIasmat is able to use its full powers of color 

Hugo Meyer 







and absolutely 

essential for good 



Correctoscope is slipped into place 
right on your camera. 


Correctoscope banishes forever the two greatest difficulties o( amateur movies. CORRECT FOCUSING 
is done by direct vision— you view your object magnified about lOx— right side up! CORRECT 
EXPOSURE stop to use is determined by viewing the object through Correctoscopes special light filter. 
Both operations are simply and quickly done. 

For Close-ups . . . when working with fast lenses . . . telephoto lenses . . . industrial use . . , visual 
education . . . surgical operations . . . wherever good pictures are wanted. 
Correclosco/ie is absolutely essential lor Kodacolor. It insures sharp focus— 
Kodacolor results. 


ry (o 

Price: Complete with special /-1.9 ,$0^ ^f\ 
focusing Correctoscope lens O • »*J\f 


Works: Goerlitz, Germany 


J^^Vl^^R-* 1929 

No Matter 

Whether you are a dyed-in-the- 
■ttool home movie fan or just 
reccved your projector this 
Christmas — 

We want you to 
try a KOLORAY 

In vour own home, on your own 
projeaor. with your own pictures, 
and see for yourself the startling 
new beauty this color filter gives 
to your plain black and white 

Kodacolor Users 

Who will find their pictures 
made on regular film lacking in 
interest unless they add color to 
them also with KOLORAY. 

On or 0££ 
in 30 Seconds 

You can anach a KOLORAY to 
your projeaor in 30 seconds and 
show all your pictures in beauti- 
ful single or two-toned color 

We will send a 
on Trial 

Put it on, and if the effects will 
not arouse the enthusiasm of the 
most hardened amateurs, send it 
back and we will refund your 

KOLORAY is made for Koda- 
scope Models A, B and C, Filmo 
and DeVry I6mm. projeCTors, 
and sells for $7.30. Please be sure 
to specify the kind and model of 
your projeaor when ordering. 
(Remember money back if not 
satisfied anuime within fifteen 

Descriptive literature on request. 

Cutler Building - Rochester. N. Y. 


m^L •Professional color eSects H 

A ^ for home movies" A 

the lenses of amateur cameras are on 
the market. 

Prisms of any desired length can 
be obtained from wholesale dealers 
in opticians" supplies. These can be 
cut up and put together with balsam 
at anv optical shop, in whatever form 
vou desire. We used mainly prisms 
of from five to ten diopters put to- 
gether as in illustrations Nos. I 

Thev are held in front of the 
camera lens and moved about until 

1LLU?TR.^TI0NS I ir.i II 



the desired effect is obtained. Nat- 
urally they can be moved during the 
taking of the picture, thus moving the 

Kaleidoscopes are either triangular 
^lass columns ( long prisms looked 
through from end to end 1 or mirror 
systems. Two mirrors held to form 
a steep-sided trough make a simple 
kaleidoscope. They are used like the 
prisms. Cylinder lens systems mag- 
nify the image in any diameter de- 
sired. One is now offered by a camera 
manufacturer and is called the "lens 
modifier." This can be rotated dur- 
ing taking. 

Naturally none of these effects is 
worth much in itself. -\ really re- 
markable amateur studio picture 
could undoubtedly be taken without 
any tricks at all. In our case we found 
these devices very useful in covering 
up the defects of our settings and in 
o'iving the scenes the rhythms which 
we thought they required. 

.\s no stills were taken, illustrations 
have been made by enlarging frames 
of negative. The paper prints were 
considerably softer than the movie 
print in order to avoid graininess. 
Thev show prism and kaleidoscope 

\ow.' Mrs. J. Potter Pancake, don't 

look so cross. . . . The temptation 

to monopolize your Filmo 75 . . . 

IS irresistible. 

Filmo 75 . . . newest of the Bell & 

Howell .Automatic Movie Cameras 

. . . comes in choice of colors . . . 

as smart as Paris . . . and as precise 

as a micrometer. 

The Filmo 75 will make for you the sharpest 

saw on 16mm. film. SarpiisinilT efficient. 
Bass will take your old stUl or movie in 
trade. 66 page Catalog free . . . Write. 

Bass Camera Company 


"Filmo Headquarters ior Tourists- 






St.. Phila.. Pa. 

Exclusively lb mm 
ing. Titling, Edit 

. Developing, Print- 
ng. Rush Service. 


rial and Mt 

for .AH Occasions— lo- 
dical Production 

Complete Your Picture 
Record of 1928 

TJEGIX the Xew Year right by having 
your Old Years films properly edited 
and titled. Let our experts make of your 
1928 films a complete, coherent and de- 
lightful movie chronicle of the events of 
the year. 

Let us make a separate film-stor\' of 
that vacation tour — that outing — that 
week-end motor trip. .Ajid let us work 
this reel into a Story of 1928 so that, 
instead of the clutter of random shots, 
vou will have a progressive, smoothly 
running story of eveiy event that you 
filmed during the year. 

Our prices are extremely reasonable and 
our work is done by experts of long ex- 
perience in the amateur field. 

Come in. Let's discuss your Story of 
192S. -Vo obligation, of course. 


Editing and Titling Service, Inc. 

Room 917 350 Madison Avenue 

NewYork, N. Y. 

niO'WIE !M/«I^CRS 


{Continued from page 856) 

A New Feature 

THIS month Movie Makers 
inaugurates in the "Amateur 
Clubs" Department, this special 
grouping of news items about 
British amateurs. The Amateur 
Cinema League has a host of 
British members and MoviE 
Makers has many other British 
readers whose membership al- 
legiance is given to the Amateur 
Cinematographers Association 
of the United Kingdom. There 
is an additional and weighty 
reason for this new feature of 
Movie Makers to be found in 
the fact that amateur films in 
Great Britain represent the 
greatest advances made in Brit- 
ish cinematography. Profes- 
sional productions lag behind 
amateur effort. To cover the de- 
velopment of British amateur 
filming is, therefore, to cover 
the most significant phases of 
present cinematic progress in 
the British Isles. 


Amateur Talkies 

THE Owlpen Pictures, an amateur 
photoplay producing group in 
Bowden, Cheshire, have given a pri- 
vate demonstration of the first talking 
pictures produced by an amateur. The 
equipment used was developed by H. 
B. Heys, a member of this club, who 
has been working on sound devices in 
the Owlpen studio for some time with 
the aid of other members. The ap- 
paratus used is described as different 
to that hitherto employed by profes- 
sionals in talking film production. It 
is claimed that the results obtained are 
equal to those secured by professional 
producers, which claim, a host of 
newspaper clippings from the north 
of England would seem to bear out. 
The human voice is said to have been 
perfectly synchronized by these ad- 
vanced amateurs and the tone quality 
of the reproduction is marred only by 
the amplification which has not yet 
been perfectly adapted to this new 
method. Impersonations, solos and 
orchestral music were presented at the 
demonstration to which representa- 
tives of the press were invited. The 
program was introduced by a silent 
film made by John F. Leeming, presi- 
dent of the group. A recent produc- 
tion of this club was a 35 mm. drama, 
Gypsy Maiden, which is being titled 
in a particularly ingenious way. 
Metal letters are used on a metal back- 


For standard and 16 mm movie cameras. 
Zeiss Tessar £2.7 and £3.5 Tele-Tessar £6.3 
Finders Filters Sun-shades 


485 Fifth Ave., New York 
728 So. Hill St., Los Angeles 



the new , . . 


i¥. i^9# 


The last word in "Home Movie" projection surfaces 

Merely raise the top — and the automatic side arms snap into place, holding the 
screen taut — always. And the lowering is just as simple. 

There's no inserting of side arms; no straightening of side arms; no adjusting of 
tension at the sides — it's all automatic. 

Made in a heautifully polished walnut finish that harmonizes with the best of 
appointed furnishings, and furnished in four popular sizes in either the "profes- 
sional type" silver or heafled surfa4'e. 



For seventeen years — the world's largest producers of 
Motion Picture Screens. 


JAiwrnjAKir i»2» 



for sate outright 


Pat Sullivan's 'Felix," the most popular 
star in the home movie field, is now avail- 
able lor outright sale in a new 100 ft. 
picture lor $5.00. As a high point in 
an evening's entertainment, it is unbeat- 
able. Children love to see it over and 

Only a quantity purchase and immediate 
sale makes possible the low price. The 
available supply is apportioned to the 
dealers listed below. If you act at once, 
they will be able to reserve your copy. 



Eastman Kodak Stores Solatia M. Taylor 


Alves Photo Shop, Braintree 


S. C. Freeman & Co. 


Smith Office Equipment Co. 


Starkweather & Williams 


The Harvey & Lewis Company 

The Harvey & Lewis Company 

The Harvey & Lewis Company 


The Harvey & Lewis Company 


Curtis Art Company E. S. Baldwin 


Hudson Radio Laboratories 


B. Gertz, Inc., Jamaica 


Vim. C. Cullen Gillette Camera Stores 

Eastman Kodak Stores, Inc. 


Fred'k. Loeser & Co. Schaeffer Company 


Williams, Brown & Earle 


Mortimer's Twelfth Street Garage 


United Projector & Film Corp. 


Cunningham's Lindemer's 


Buffalo Photo Material Co. 


A. H. Mogensen Kelly & Green 


Tampa Photo & Art Supply Co. 


Star Electric & Engineering Co. 


Aimer Coe & Co. A. S. Aloe Co. 


Ideal Film Corporation 


Leavitt Cine Picture Co. 


Photographic Stores Ltd., Ottawa 

Regina Films Ltd., Regina 


American Photo Supply Co., S. A. 


Honjo & Co., Kobe 

Home Film 

100 East 42nd St., New York City 

al stations 
lading the 

"These dealers are also 
lor Home film Librarie 
new series of 1929 Featm 

ground thai has heen magnetized. Let- 
ters placed in any position will be 
held firmly by the magnetic back- 
ground and can be lined quickly and 
with great ease. 

Cathedral as Set 

THE Devon Amateur Film Produc- 
tion Society of Torquay now has 
ninety-four inenibers. Production of 
a costume picture set in the Fifteenth 
Century, for which portions of the 
Exeter Cathedral Close have been 
used, is almost complete. This pic- 
ture, The Monk, \vill run 2000 35 mm. 
feet. Pott's Pride, a recent production 
of this club, was publicly screened at 
Torquay. Booking office receipts 
were turned over to three hospitals in 
Torquay and Paignton. The Devon 
Society recently held an amateur cine- 
matographic conference. Delegates 
from the Amateur Cinematographers 
Association, the British Empire Film 
Institutions and the Manchester Film 
Society were present. A resolution 
was passed to petition the Crown to 
free from import duties amateur films 
sent to England for amateur projec- 
tion. These duties, originally de- 
signed for professional film produc- 
tions, have never been amended for 
either 35 or 16 mm. amateur film. 
Protest was also made against the fact 
iliat no representative of the amateur 
movement was included in the Films 
Advisory Council, instituted by the 

Large Library 

AT the last meeting of the Sheffield 
branch of the Amateur Cinema- 
tographers Association, Robert Un- 
win, Eddy S. Harpham and R. E. 
Marshall were chosen as the club's 
production committee. This active 
group now has a club film library of 
nearly forty subjects. 

Will Have Locale 

PRODUCTION plans have been 
made by the new Amateur Cine 
Players Club in Stockport, Cheshire, 
and negotiations have been completed 
for lease of a studio and headquarters 
space. Officers recently chosen are: 
William Hamer, chairman, Thomas 
Aldred, Jr., treasurer, and H. Winston 
Greenwood, secretary. A production 
committee of F. A. Holland, J. Hid- 
derley, J. L. Dawson and P. C. Pierce 
was named. 

A. C. A. Events 

THE Amateur Cinematographers 
Association has arranged with the 
Camera Club of London for the use of 
the latter's club rooms for projection 
meetings. A joint membership has 
been evolved whereby A. C. A. mem- 
bers may become full members of the 
Camera Club for an inclusive annual 
subscription. The Association's an- 



Storage Gases 

For Storing and Keeping /ilms plijble. 

Strong — Durable — Good-looking 

Felt-lined, Side locks, Key lock, 

Karatol covered. 

Supplied in Three Sizes 

8 — «00 ft. Reels and Cans..$ 8.00 

16 — 400 ft. Reels and Cans.. 11.50 

24 400 ft. Reels and Cans.. 15.00 


idifying Solution 
$1.00 a large bottle 


30-32 Barclay St.,Ne'w York 




Complete editing and titling \ 
ard.) Cinematography. 


I 2S40 Park Ave. C Adillac 5 260 | 




jfi-ooiiiaeai ij/ 

Globe Trotting . . . 

in Your Home 

VISIT Havana, Honolulu and Hilo, 
Yokohama, Nikko, Nara and 
Tokyo, Shanghai and Hongkong, 
Batavia and Bangkok, Calcutta, 
Delhi, Bombay and Agra, Cairo, 
Athens and the Rock of Gibraltar — 
all in forty-five minutes — in your 
own home. 

This film contains, in three reels of 
400 feet each, the unusual features of 
an exclusive world cruise. Its educa- 
tional and entertainment features are 
unique. The price is $30 per reel. 
Your dealer has the film or will order 
it for you. 


8805 Hough Avenue 
Cleveland, Ohio 


«■ O '%' 1 E 

I /% K ■- K «» 

D. E. Braud 


A George N. Gallagher 


By virtue of unusual number of leaps — excep- 
tional closeups — the most thrilling — pulse 
quickening — tarpon picture ever filmed. View- 
ed from behind the South's foremost tarpon 

A sportsman's picture. App. 400 Post Pd. $30 

Thibodaux, La. 


• quality, depth, defini- 
tion, brilliance, washable, 
substantial, portable, swift- 
set, metal cases, low cost. 

Which of these features do you want your 

TRUVISION haTthem all ! 

Have your dealer demonstrate 

Truvision Projection Screen Corp. 
11 East 44th Stt., N. Y. C. 


// better titles can be made 
Hand Lettered, Illuminated, Bor- 
dered, Illustrated and 

A good title dresses your picture, tells your 
story and makes it professional in appearance. 

Artistic Animated "Presentation 

Leaders" and "The End" Trailers 

We supply the Producers and Theatres 


F. A. A. DAHME, Inc. 

145 W. 45th ST., N. Y. CITY 



100 ft. reels, 16 mm., $6.00 Each 

Many from which to choose 
A few subjects available for rental 


Produces thiLi ■"fleet 

Sent postpaid upon receipt of $2.00 

R€DUCT10N PRINTING at attractive price: 

Produced by 


165 E. 191st Street Qeveland, Ohii 



16nim. positive movie film are 
now perfected by our new pro- 
cess. Clip the best frame of the 
scene vou want enlarged and en- 
close $2.00. 


8805 Hough .\ve., Cleveland, Ohio 

nual business meeting will take place 
this month. 

A certificate of merit, prepared as 
a trailer, will be given by the A. C. A. 
to members whose films are of out- 
standing excellence. Photography, 
camera treatment, titling and general 
interest will be the qualities consid- 
ered in awarding this certificate. This 
worthwhile idea could be used by 
other clubs in conjunction with a city- 
wide cine contest. 

Studio lighting facilities have re- 
cently been increased and the A. C. A. 
studio is open to use by members. A 
weekly screen magazine filmed by 
members is shown at the weekly meet- 
ings. Late programs of the associa- 
tion include the projection of Maid's 
Moreton, a cine study of a village 
filmed by Major R. B. Miller in the 
manner of Berlin, Be Respectable, 
running 800 feet, 16 mm., Rebellion, 
400 feet, 16 mm., 49, which is 800 feet, 
16 mm., produced by G. H. Sewell, 
The Last Refrain, 16 mm., A Siren 
Chic, 16 mm. and Sally Sallies Forth. 
All of these films were produced by 
association members. Grit, a 16 mm. 
film produced by students at Cam- 
bridge was recently shown. 

School Life 

TPHE Leeds Y. M. C. A. Junior Play- 
-*- ers have produced a 300 foot 16 
mm. photoplay, called Through The 
Mill, based on English Public School 
life. Outdoor sets were used and some 
interior shots were taken. Plans are 
under way for a second film. Club 
officers are C. Edgar Hollas, producer, 
N. Whiteley, manager, and S. H. Kin- 
der, secretary. 

Tyneside Ready 

JOSEPH RISPIN, secretary of the 
Tyneside Amateur Motion Picture 
Association, reports that this club now 
has fifty members and that plans are 
made to produce a 35 mm. film using 
interior sets. 



Danger Signal, A 201 

Film Exchange ji 

League Service to Clubs 164 

Makeup Bulletin 780 

New League Service 310 

Photoplay Contest 780 

Trip Scenarios 244 

Amateur Cinematographers' Association of Eng- 
land 410. 550. 672, 717 

Auckland. N. Z., Amateur Movie Club of. . 33, 311 

Australian Amateur Film Club 244 

(Also see Fineart F.Ims, Ltd.) 

Baby Kinema Club of Japan 124 

Birmingham Amateur Movie Association.. 652, 717 

Boston Little Screen Guild 457 

Boston Little Screen Players 457 

Bund dcr Film Amateure (Germany) 59, 549 

Calilornia Amateur Movie Makers Club.. 58, 

165, 244. 485, 674 

California Camera Club 485. 619, 717 

Caribbean Club Dramatic Society, Maracaibo, 

Veneiuela 716 

Charleston. West Va 519 

Chicago Cinema Club 618, 672. 717, 819 

(Also see Chicago Movie Makers Club) 
Chicago Movie Makers Club... 58. 165, 245, 

312, 410, 456 

4p A*,^^'iat Arc'^ our Cfii<S(*i«^ii(i 

(joing 1 lolKwopd" ll/i,it 

'/'Ik 'fax-ii Docs 7'u People 






Photoplay expects every ama- 
teur to do his duty. 
Of course, you are entering the 
$2,000 competition. Fame is 
knocking at your door. 

The contest closes at midnight on 
March 3 1st, 1929. The distin- 
guished jury of judges includes 
Professor George Pierce Baker 
of Yale, Philip K. Wrigley, 
Stephen Voorhees, Colonel Roy 
W. Winton, Wilton A. Barrett, 
King Vidor and James R. Quirk, 
Publisher of Photoplay. 

AW rules in every issue of 

Photoplay Magazine 

750 N. Michigan Avenue 
Chicago, III. 


JAIWCJ/%R'*' 1929 


Only a tripod will steady a motion pic- 
ture and the Kino-Pano-Tilt and Tripod 
IS the ONLY tripod equipment that is 
100% successful for use with all home 
movie cameras. It has been accepted by 
amateurs, critics, dealers and the camera 
manufacturers as INCOMPARABLE 
It is the tripod you will eventually buy 
priced at $35.00. Above photograph 
shows Cine-Kodak mounted upon Kino 
Pano-Tilt and Tripod. Height when ex 
tended, 56H inches. Price, S35.nn 



With the addition of a Thalhammer 
Kino-Projector Plate, which takes same 
position any camera would, the Kino- 
Pano-Tilt and Tripod becomes the ideal 
projector stand; a style of plate can be 
had for practically every popular 16 mm. 
projector, jrom S.5.50 to S8.50 



Ask your dealer 

Cine Court Players 652 

Cinetrix Club of New York Cfty 819 

Cleveland Movie Club 518. 652 

C^leveland Photographic Society, Motion Picture 

Division 57, 310. 548. 672 

Colgate University Movie Club 58 

Colorado Cinema League 519, 717 

Culver Military Academy 411 

Cumberland Amateur Motion Picture Club 

124, 391. 780 

Danish Amateur Movie Club 619 

Devon Amateur Film Production Society 674 

Dramatic Art and Movie Club 550, 717 

Dutch Developments 245 

Ervin, Russell T.. Ir 578 

Filmo Movie Club 716 

Fincart Films. Ltd 652, 717 

(Also see Australian Film Club) 
Flower City Amateur Movie Club.. 310, 411, 

550. 819 

Flushing Amateur Movie Club 124 

Foto Cine Productions 124. 391, 674, 781 

Hartford Amateur Motion Picture Club. . . 164, 

312, 410, 652, 781 

Hartford Picture Players 58, 312 

Herald Cinema Critics Club 518, 672, 716 

Indian River School 457 

Kooringarama Films Club 518, 674 

La Jolla Cinema League 311, 411. 653 

Lakes, Amateur Motion Picture Club of.. 618. 781 

Manchester Film Society 391, 551, 717 

Markard Pictures 578, 819 

Memphis Amateur Players 5 50 

Miami, Motion Picture Club of 717. 780 

Mohawk Valley Cine Club 312, 484 

Netherlands Amateur Photographic Society.... 619 

New Haven. Motion Picture Club of 165, 

245, 821 

Norfolk Photographic Club 484 

Oesterreichs. Klub der Kino Amateure 59, 

101. 549 

Oranges. Motion Picture Club of 124, 311, 

550, 578 

Palisades, Amateur Motion Picture Club of 820 

Paramount Amateur Motion Picture Club 245 

Pathex Club of Detroit 484 

Peabody Cinema Club 653 

Peterborough, Canada 485 

Philadelphia Amateur Motion Picture Club 

59, 164 

Philadelphia, Cinema Crafters of 100, 201 

Philadelphia Movie Makers Guild 483 

Portland Cine Club 101, 312, 674, 716. 820 

Reno, Nevada. Amateur Movie Club Plans 716 

Riverside Amateur Movie Club 457. 618, 820 

Rochester Cinema Club 58. 165. 245, 548 

Rochester High School Production 244 

Roosevelt High School Amateur Movie Club of 

Des Moines 57, 391 

Roosevelt High School. Seattle, Wash 484. 579 

San Antonio Y. M. C. A. Camera Club 201 

Satellites, The 391. 618 

Shadows Studios 653. 821 

Sheffield Amateur Movie Club (England) . . 311, 

411. 551, 674, 716 

Stratfield, Conn., Unquowa School 673 

Siegfried Amateur Motion Picture Club 58 

Silver Screen Club 674 

(Also see Twin Cities Amateur Movie Club) 

Societe Francais de Photographic 547 

South Bend, Indiana, Plans 165 

Southern Movie Makers Triangle 820 

(Also see Summerville, S. C.) 
Stamford Comedy Club Cinematograph Com- 
mittee 579. 820 

Stanford Studios, Stanford University.... 311. 

456. 619 

Stony Brook School 485 

Summerville, South Carolina 673 

(Also see Southern Movie Makers Triangle) 

Sweden Starts 311 

Thames Valley Photoplayers (England) 164 

Twin Cities Amateur Movie Makers 482 

(Also see Silver Screen Club) 
Undergraduate Motion Pictures of Princeton Uni- 
versity 310. 483 

University of Southern California 101 

Washington Cinema Club 58, 101. 411 

Western Massachusetts, Movie Club of.... 33. 

165, 311, 390 

Wilkes-Barre, Pa 165 

Youngstown Cinema Club 716 

Zutto Players 33, 124, 165 

OF 1928 

■ALL BY HAND" 551 

Amateur Cinematographers' Association 

■■AND HOW" 124, 550. 578 

Motion Picture Club of the Oranges 

■BLACK BEAR. THE" 390, 551, 717 

Manchester Film So 



The Satellites 

Kooringarama Films Club 

J. E. Braid 
■'CASTE^' 244 

Australian Amateur Films Club 
"CHICAGO" 819 

Chicago Cinema Club 

Colorado Cinema League 

Milton H. Bernstein 

H. S. Shagren 

Let Us Do Your 
Motion Picture 

Careful negative devel- 
oping 35 and 16 m-m. 

Reduction and standard 
printing 16m-m contact 


Enlarging to 35ni-ni. 

Master positives and Du- 


Mid-West Film Co. 


845 S. Wabash Avenue 
Chicaeo, III. 


SINCE 1916 

Photo-Filter Specialties 

II,, Fi/tiri produce Fog Scenes — Moonlight 

jH) niicu ^^j ^^^^^ Effects— Ativichere— 

are used Anytime. Also Soft Focus and 

hy all various other effects, just like 

Hollywood 'hey make 'em in Hollywood. 

f.. ,- It's easy — you make 'em too. 

Su<d,os ,.„ „„%Jh„„. 

Endorsed hy .\MERIC.4N SOCIETY 


Ask your dealer, or write to 



1927 W. 78th St. Los Angeles, Calif. 


ii«ac c R s 


University Club Pholoplayers 

M. Henri-Robert 

Southern Movie Makers Trianpjle 

Colgate University Amateur Movies 

Clyde Hammond 

"DJABELO" ,,0 

W. R. Poulson 


Siefned Amateur Motion Picture Club 

Clyde Hammond 

"ENVY".... 672 

..,-,^'5^"^'"' Cinematographers' Association 

Amateur Cinematographers' Association 

J. S. Watson, Jr. 
"FAST MALE, THE" 4,6 519 

Stanford Studios 

Shadows Studios 


Thames Valley Photoplayers 
FRAMED" T? 191 

Roosevelt High School, Des'Moi'nes "lowa ' 
"FRESHMAN DAYS" .110,411 550 819 

Flower City Amateur Movie Club 

"HE'rfeF&'''".".^!' "' ^''^ ^- ^■■^- ■ ■ ' „4 
..HEro,nH'^.r:'.p'«- ^'-^ °' '^^'l'^'^"' ' ,1,, Amateur Motion PicVu're ciu'b 

"IMPOSSIBLE" cureuiuD 

Pathex Club of Detroit 


Indian River School 


"LIFE ol a"h.^Bo!?.".^°"°" '''""- a-'^ ' ■ „,, 


Rochester Cinema Cluh ' '''^ 

"MAGIC LAMP. THE " 55, ^74 

"maA^shy'?"^.'!"': ':'"t:. "":'•' ^'"'' ' ,„ 

"MAkY"AND mtE-- ^°'" A--'"-" ' ' ' 

Caribbean Club Dramatic SoVietV 

"MASQUE" c oociety 

Peabody Cinema Club 


Hartford Picture Players ' ^'^ 


..» ^.o",","' Grafters of Philadelphia 
MUSHROOMS" 6,2, 821 

Uine Court Players 
"NARROW PATHS" ... „, 

Markard Pictures ^ 

"NAZIRA" n 17J i,c, 

Zutto Players "' '"' '*' 


"nugge"t^15ell'"^"' ''°"°" P'«-'ciuf .^_ 
"PE^^R^^F j™"p"XcYnc''. '■"."!. ^??^ ' 

"PeJsISTENt'"sUITOR, THE".. fi,. 

H. S. Shagren ' 

"PLENTY OF JACK" 155 3,1 ,,„ 

"prIKcTto^^-^.""""'^"-^- • 

"PR"ute^"'=.'^°"™p==-- ' 

D. William Gibson *'* 

"'^^^l'^ iP^, ™^ STEGOSAUR " 5,9 

W. K. Poulson 

Dramatic Art and Movie Club 

"SCARLET WOMAN".... ,,, 

Caribbean Club Dramatic Society 


Mohawk Vallev Cine Club 


W. R. Poulson "^ 

"SIX APPEAL" ,,„ ,,, 

.Herald Cinema Critics' Club "*'*'- 


KEEPER" 579 sin 

Stamford Comedy Club Cinemawgr'aph 

University of Southern California 


Dr. H. A. Heisc ^^° 


Dramatic Art and Movie Club ' 


Foto-Cine Productions 

Klub der Kino Amateure Oesterreichs 
"TROBRIANA" 65^ 717 

Fineart Films Productions, Ltd. 

La Jolla Cinema League 

W. Stevens 

Stratfield, Conn.. Unquowa School 

Roosevelt High School. Seattle, Wash. 

Filmo Movie Club 




Eastman Kodak Stores, Inc. 

Cor. Madison Ave. and 45th St. 
New York City 

em Cinophols Match 
Tile Cine-Kodak 

Reprint from Monthly Abstract Bulletin, Issued by the Kodak Research 
Laboratories, November, 1928 

Drem Cinophot Cinematograph Exposure Meter 368 

B. J., 75-, Aug. 17, 1928, p. 502 

In this new model of the extinction type exposure meter, the settings have been 
chosen to suit normal practice in motion picture work, by correlating the principal 
setting to the exposure time of 1.32 sec. The required exposure can then be found 
directly. The model is suitable for all amateur cine cameras. It is also equipped 
with a series of calculating rings making it adaptable for professional work when 
variations from standard cranking speed are often used. The model is suitable for 
still photography also. 

Cinophot, complete with sole leather case and instrument $12.50 


152 WEST 42nd STREET 



Oistant Scenes? 


981 Hudson Ave.. Koohesl.r. \. V. 

Manufacturers of Qitality Photographic Lenses and Shutters 

j.«i«ni;%R'v 1929 

Our first 





PhotographylbylQardner Wells 

f -f -f 

Streets of London 

London from the 

(All at $7.50 per 100 feet) 

Tarpon Fishing off 
Boca Grande 

A Special at $5.50 

Travel Mome Films, Inc. 



"16mm. Films of Merit" 

Write us for the new combined 

Exposure-Filter Chart and 1929 

celluloid pocket calender. Free 

for the asking 


^,veryihing Knoxen inJ^loiion TVciures " 



Mm0'^ Jirt 'tiUtM 


(Conlinued from page 857j 

board of censors has not shared such 
an appreciation, which is their limi- 
tation and the public's loss. Which 
brings to mind tlie ever recurring 
problem of film censorship vested in 
politically appointed bodies. What 
pernicious interference the entry of 
their destructive activities in the edu- 
cational film field might cause can 
readily be imagined if they were, for 
instance, to get at films of psycho- 
logic research. But, then, since such 
a body is very likely to require psy- 
chopathic and pathological cure, 
such films might, after all, be al- 
lowed to pass immune. 

A Business Proof 

ONE of the many phases of edu- 
cational work in which the 
mo\ies are proving tliemselves val- 
uable is shown by a report from the 
Assistant Trade Commissioner ot tlie 
Department of Commerce, Caracas, 
Venezuela. An industrial film show- 
ing the process of manufacturing a 
certain brand of American made hat 
is being employed very effectively by 
die Venezuelan agent of the company. 
Following the initial stocking of the 
hat by retail dealers the film was 
shown as a "short" on the program of 
the local motion picture house. Sales 
after each showing were markedly 
increased. Often customers who 
could not recall the name of the pro- 
duct identified it as "the hat the pic- 
tures were about. 

This form of advertising is of great 
value when it can be arranged, of 
course, and is definite proof of how 
effective the movies are as an educa- 
tional medium in any field. 


(Continued from page 853) 

b\ which special effects may be 
achieved, does its own developing and 
printing. A dark-room, a rack and 
tank developing system, a motor- 
driven drying-reel and a continuous 
automatic printer equip it to handle 
this work most readily. This group 
also has a titling apparatus and a 
small printing press for preparing 
titles, club forms and stationery. It 
makes a point of employing all of the 
filters, gauges, etc., that facilitate 
technique and produce beautiful ef- 
fects with simplicity. 

Already well equipped with several 
cameras, 16 and 35 mm., as well as a 
variety of lenses, lights, reflectors, dif- 
fusion screens and the like. Stanford 
Studios, the amateur movie group of 
Stanford University (Palo Alto, Cali- 
fornia! has augmented its equipment 

Motion Pictures 

of Your 
Foreign Business 

35 mm. or 16 mm. 

Sources of ran- materials — 
foreign uses of your product 
— your foreign factories, 
branches or agencies — all 
these we can film for you 
this Tvinter. 

Gardner Wells is making an 
extended trip for us, cover- 
ing all Mediterranean coun- 
tries and Western Europe. 
Another cameraman is going 
through the West Indies and 
Central America. 
And a third experienced man 
will cover fully all the large 
cities and historical points of 
interest of South America, 
both coasts. 

We will accept a limited 
number of assignments for 
35 mm. or 16 mm. film, or 
stills, in any of the above 

Further details on request 

Travel Movie Films, 

Industrial Development Dept. 

New York City 


Flare Showing Detachable Handle 

Light a Meteor Flare (Powerful Fire- 
work Torch) and take a movie of the 
party — no equipment necessary. The 
same flare the professionals use. Five 
sizes, V2, 1, 2, 3 and 4 minutes of light. 
.41so electrically fired flares for special 
work, operated by flashlight batteries. 
Several /lares may be fired simultaneously 

John G. Marshall 

1752 Atlantic .4ve., Brooklyn, N. Y. 

I ;« 1^ c K s 

with ingenuity and inventiveness. Ern- 
est W. Page, director of this club, 
writes : 

"The technical staff of our amateur 
club has been trying to enlarge our 
equipment with the aim of obtaining 
cinematic smoothness and to systema- 
tize the work of developing, editing 
and making titles. One of our mem- 
bers, William Palmer, has built a 
standard size camera with a direct 
focus on the film and we are using 
this to photograph our art-titles on 
standard film which we then reduce 
to 16 mm. 

"For example, our first art-title was 
the one used to open a recently com- 
pleted comedy, The Fast Male. Using 
this home-made camera, we faded into 
a shot of an express train approaching 
in the distance. The camera was 
placed as low and as close to the 
tracks as possible and the number of 
turns was counted up to the point 
where the front of the engine loomed 
up and blocked almost the entire field. 
Back-cranking to this point we double 
exposed on the white letters. The Fast 
Male, so that the lettering has a fast- 
moving background of wheels. Simi- 
larly for the last title, the words "Ad 
Infinitum", have a train disappearing 
in the background. Except for the 
sharpness of detail, back-cranking and 
direct focusing, this same technique 
may be applied to any 16 mm. camera. 

"A Kodascope, Model C, with the 
lens removed and a tube substituted, 
which runs to a box in which there is a 
rheostat-controlled light, forms a 
satisfactory 16 mm. printer. Our 
standard-size printing machine was 
constructed from the head of a Powers 
projector. Both, of course, are step 

"Our equipment is distributed in 
three rooms; the first, a dark-room for 
still work, making short test strips 
and photographing titles; the second 
contains our deep tanks and racks; 
the third houses an editing and print- 
ing room, with a small press and type 
for setting up titles. Egg boxes, I have 
found, when nailed to the w-all above 
the editing desk, make convenient 
cubby-holes for filing and keeping 
tab on the various scenes. 

"We have found that our close-ups, 
especially, are improved by the use 
of a mask-box which vignettes the 
edges and corners. This box is four 
inches long, fits over the lens and is 
made of stencil board painted black 
on the inside. 

"Our five flood liglits consist of very 
simply-constructed arcs using parallel 
carbons projecting through common 
lamp shades. Either salt water or wire 
resistances mav he used. 

Producing "TITLES FOR 14 YEARS" for 



245 "West 55th Street 

1«E-V*r -VORK. CITY 




and others 


Specially Printed 

16mm. TITLES 25c. 


For eight word maximum — Extra words, 3 cents — Minimum order, $1.00 

HAND LETTERED TITLES with border— up to 12 words 60 cents 

(Extra words, 5 cents — Minimum order, $1.20) 

ART TITLES — Hand Lettering — up to 12 words $L50 

100 Appropriate Paintings in Pastel to Fit any Title. (Extra words, 5 cents) 




A BEAUTIFUL hand-lettered opening title (not exceedmg 12 words) 

with an original pamting on background such as we use for the finest 

feature productions Sl.OO 

WV Are Supplying All New York Leading Stores with Our Title Service 

Seeing Herself As Others 
See Her 

"fitrq/ttt ^Torres, fascinating 
Metro- Goldwyn-Mayer player, 
watches her performance in 
'•Vi'ljite Slyudous in tlie Soiilli 
Seas" on her ARROW BEAD 
Screen, Monte 81 


Give Better Pictures 

At Your Gine-Camera Dealer's 

Manufactured under U. S. Patent, Number 1J99,566, by 


6725-55 Santa Monica Blvd. Hollywood, California 

WILLOUGHBYS, 110 W. 32nd Street, Greater New York Distributors 

s/%iwm;ARir t»x9 

Travel Pictures 

First New York Showing 

A series of twenty-six 100 foot 
16 m. m. films, taken in every 
quarter of tfie globe. Both 
educational and entertaining. 

$4.50 a Roll 


Wanders of Oregon 
Peaks, Park and Pines 
Bit of God's Country 
Wonders of Canada 
Out Wyoming Way 
Pioneer Outlaw Haunts 
We Visit Britisfi Columbia 
An Eye Full of Egypt 
Mid Sahara Sands 
Pyramid Land 
Higlilands of America 

Tlie City of tfie Sun 
Glimpsing Gondolas 
From Lima to Top of Andes 
Hunting Game in Canada 
Peru, the Land of the Incas 
Dells of Wisconsin 
Paradise Outdoors 
Life .4mong the Indians 
Bridesmaid to Beauty 
Life in Southern Peru 
Geysers of Yellowstone Park 
Rodeo and Western Life 
A Peek at Paradise 
Vacation Land 

Bulls and Bears of Yellow- 
stone Park 


30-32 Barclay St., New York 


We specialise in the developing and printing of 16 
mm. negative and use the late type positive contact 
HUTTON 16 mm. Printer. A trial will convince 
you on your own screen as to our quality. 

U'c TTialie prompt shipment o/ raw ncgiitiue 



108 N. Dearborn St. Chicago, III. 

and now! 

\{)^' the copy 

($1.00 by the year) 


"The Mo 

■ Maga 

■ of the Month" 

As important as the camera itself and 
a necessary addition to every cine- 
amateur's library. 

See your dealer today, or write 


157 North State Street 
Chicago, Illinois 

"In working with negative film, 
chemical fades are very successful. 
The two feet or so of film is slowly 
drawn out of the reducing solution and 
so timed that the last few frames re- 
main in the solution long enough to 
be completely reduced." 

Four 35 and two 16 mm. cameras 
are at work for the Manchester, Eng- 
land, Film Society which also has 
complete equipment for developing 
film. This group, like several other 
producing units, is building up a ward- 
robe of costumes and a supply of pro- 
perties that can be used in successive 

These few details could be expanded 
into a report beyond the space which 
can be given to it as club after club is 
acquiring the tools of its art, some- 
times by purchases, just as often by 
home manufacture and always with a 
keen sense of economy that has become 
an unfamiliar thing to the professional 
studio. This intelligent increase of 
technical facilities and the very desir- 
able economy with which the increase 
is accompanied will hasten the ad- 
vances in cinematography guaranteed 
when amateur producing groups first 
became realities. 


(Continued from page 859) 

costume may be worn before and af- 
ter another. When you get to be 
really expert at laying out the cos- 
tumes, you can work your crossword 
puzzles with your left hand and close 
both eyes at the same time. It's a 
gift, but it saves a lot of time. 

Now go over your work sheets and 
mark in the costumes. Take the sam- 
ple we have already given, and make 
it look like this: 

Lake Shore 

1 — Where Mary and Gerald meet. 1-1. 
26 — Where Gerald gives Mary the ring. 

31 — Mary throws a kiss to Gerald, who is 
in 30. 3-4. 

That means that Mary and Gerald 
wear their first costumes in one, and 
Gerald's third and Mary's fourth in 
the other scenes. See that they do. 
But you won't have to give this your 
personal attention on location. We'll 
come to that in a moment. 

Now you're pretty well fixed, and 
it's about time. All you need is your 
locations. Give the list of locations 
to your location man or Props, or do 
the work yourself, but arrange in ad- 
vance for the loan of every spot on 
private property that you intend us- 
ing. If possible, send your camera- 
man over the ground in advance to 
size up the shots. 

Now we're going to take a big load 

Let us Service Your 


for viewing your pictures. 

A complete Rental Library with 
subjects at 75 cents per reel 


Film Titles 

Stationery. Cards, Bookplates, 
advertising, greeting cards etc. 
Easy rules furnished. Complete 
Outfits $8.86 up. Job PreBsea Jll up. 
Print for Others, Big Profits. Sold 

Company, W-48, Meriden, Conn. 


The Teiul New Life Patented Proccsi 
Will Sa^e Them 


105 West 40th St. New York City 



ey taking 

Mhile you le 



Send at once for f-ee book, Opportunities if 
Photography, and fuH particulars. 

Dept. 1498, 3601 Michigan Ave. Chicag. 




any good usable film to U3 and re 




ly good 

or better one of approxima 




n exchange. Include a lis 




so you will not receive a duplic 


Indicate your 

preference: comedy, drama 




nal. End 

se ONE DOLLAR check o 

money | 

for each 

ion ft. reel you send. 




St. Evanston, 


lOVIE IM A 14 E R S 

oflf your shoulders. We are going to 
give you a script clerk. On the lots, 
this generally is a girl, but in an 
amateur organization it may be diffi- 
cult to find a clever girl who doesn't 
insist on being an actress. Be diplo- 
matic. Tell her about Dorothy Arz- 
ner, who started as a script girl. Tell 
her of the girls who have graduated 
from the campstool to the cutting 
rooms. If that fails, use a boy, but 
a girl is apt to be more painstaking. 
A good script clerk is like a couple 
of extra right arms. Pick a smart 

She gets a carbon of the full script, 
preferably a scene to a page, with 
plenty of space for notes. She notes 
the entrances and the exits, and all 
of the little details. Last week you 
made a roadside scene with Harold 
swinging along smoking a pipe. This 
week you make a follow scene. If 
Harold comes into the scene with a 
cigarette in his face, the girl shoots 
him, unless Props saves his life with 
a pipe. But the pipe is costume and 
not property. It's up to the actor — 
and the script clerk. If he is smok- 
ing a cigar, she notes how much is 
left, to match into the next scene, if 
necessary. She notes the wastage in 
candles, and anv change in costume. 
She reminds Belinda that she can't 
wear her cloak because she dropped 
it two scenes ago and asks George 
why he is wearing a cap when he 
started out in the sequence in a straw 
hat. All she has to do is to remem- 
ber about a million little things like 
that, and enter them in her book. 
At the close of the scene, she trans- 
fers her notes to the next scene. If 
the next scene already has been made, 
she backs up in her entries, but she 
keeps all the players straight on cos- 
tumes and little points. 

A good script clerk is to the direc- 
tor what a trained nurse is to the 
physician or an efficient secretary to 
the man of big business, so pick the 
script girl even more carefully than 
you do your leading woman. She is 
far more important to you. But she'll 
be useful only in proportion to the 
care you take in fixing, though often 
she can help you fix. and lighten this 

This sounds like a lot of trouble 
and unnecessary detail, but it's all 
important and time saving, and it 
keeps your hair from falling out, or 
being uprooted by the handful. An 
extra week or two on fixing will often 
save a month in the shooting, so it is 
well worth while, and it's not as much 
of a job as it sounds. You'll have the 
script girl and maybe an assistant 
director for routine, so you can af- 
ford the time needed for proper fix- 
ing. In making a picture, system and 
success are synonymous. 

cAnother Step in the exarch of Trogress 


announce the removal of their general offices to 


HERE we have combined our distri- 
bution facilities and a modern 
motion picture studio, devoted to the 
exclusive production of 16 mm. films. 


'Ti^emember Cine cSArt offers -jou films made 
especially for your i6 mm. projector. 


New York City 
311 Fifth Ave. 

Cine Art Productions of Canada 

2150 Albert Street 

Regina, Sask. 

6060 Sunset Blvd. 
Hollvwood, Calif. 

By special arrangement with the Victor Animatograph Co. a 
ing the Victor Camera tvith Goerz Lenses, through deale 
details and literature ask your dealer or write: 



Manufacturers of lenses and precision instruments to aid cine amateurs 




Berkeley: Berkeley Commercial Photo Co.. 2515 

Bancroft Way. 
Fresno: Potter Drug Co.. 1112 Fulton St. 
Hollywood: Fowler Studios, 1108 N. Lillian Way 

Hollywood Movie Supply Co., 6058 Sunset Blvd. 

Hollywood Music Co.. Camera Dept.. 6019 Holly- 
wood Blvd. 
Long Beach: Winstead Bros.. Inc.. 244 Pine St. 
Los Angeles: Eastman Kodak Stores. Inc., 643 S. 
Hill St. 

Roland J. Giroui, 223 W. Third St. 

John R. Gordon. 1129 S. Mariposa Ave. 

T. Iwata Art Store, 256 E. First St. 

Leavitt Cine Picture Co.. 3150 Wilshire Blvd. 

Ear! V. Lewis Co., 226 W. 4th St. 

Marihuti Optical Co., 518 W. 6th St. 

B. B. Nichols. 731 S. Hope St. 

Schwabachef'Frey Stationery Co., 734 S. Bdwy. 

Southern California Music Co.. 806-8 S. Bdwy. 

X-Ray Supply Corp., 3287 Wilshire Blvd. 
Oakland: Davies, 380-14th St. 
Pasadena: Flag Studio, 59 E. Colorado St. 

V. W. Reed Co., 176 E. Colorado St. 
Pomona: Frashers, Inc., 158 E. Second St. 
Riverside: F. W. Twogood, 700 Main St. 
San Diego; Bunnell Photo Shop, 414 E St. 

Harold E. Lutes, 958 Fifth Ave. 
San Francisco: Eastman Kodak Stores, Inc.. 545 
Market St. 

Hirsch 6? Kaye, 239 Grant Ave. 

Kahn ff Co., 54 Geary St. 

Leavitt Cine Picture Co., 564 Market St. 

San Francisco Camera Exchange, 88 Third St. 

Schwabacher-Frey Stationery Co., 735 Market St. 

Trainer-Parsons Optical Co., 228 Post St. 
San Jose: Webb's Photo Supply Store, 94 S. First 

Santa Ana: Forman-Gilbert Pictures Co., 1428 W. 

Fifth St. 
Santa Barbara: J. Walter Collinge. R E. Carillo. 
Santa Monica: Bertholf Photo Finishing. 1456 

Third St. 
Whittier: Maxwell C. Peel. 226 E. Philadelphia 
Yosemite National Park: Best's Studio. 

Denver: Eastman Kodak Stores. Inc., 626-16 St. 
Ford Optical Co.. 1029-16 St. 
Haanstad's Camera Shop, 404-16 St. 

Bridgeport: Frits V Hawley, Inc., 1030 Main St. 

Harvey if Lewis Co., 1148 Main St. 
Greenwich: Gayle A. Foster, 9 Perryridge Rd. 

Mead Stationery Co., 249 Greenwich Ave. 
Hartford: H, F. Dunn Motion Picture Co., 57 Farm- 
ington Ave. 

Harvey if Lewis Co., 852 Main St. 

Watkins Bros.. Inc., 241 Asylum St. 
New Britain: Harvey (f Lewis Co., 79 W. Main St. 
"■ '" ~ ^ Hawley. Inc.. 816 Chapel St. 

Harvey &* Le 
Reed Film Ci 

Stamford: Tha; 

Waterbury: Ci 

Co., 849 Chapel St. 
., 126 Meadow St. 
, Inc., 87 Atlantic St. 
i Art Co., 25-29 W. Mail 


Wilmington: Butler's. Inc., 415 Market St. 
Frost Bros., DuPont Bldg. 


Washington: Cinema Supply Co., Inc., 804 Ele 


H. y W. B. Drew Co. 

206 Hildebrandt Bldg. 

Shop, 115-3rd 

Lake Wales: Morse's Photo 

Miami: Miami Photo Supply Co., 

Red Cross Pharmacy, 51 E. Flagle 
St. Petersburg: Robison's Camera 
St., N. 

Strand Camera Shop. 9 Second St.. N. 
Tampa: Tampa Photo if Art Supply Co.. 709-11 
Twiggs St. 

Atlanta; Eastman Kodak Stores. Inc., 183 Peachtree 


Boise: Ballou-Latimer Co., Idaho at 9th Su. 
•Chicago: Bass Camera Co., 179 W. Madison St. 
Camera E.Nchange, 26 Quincy St. 
Aimer Coe (f Co., 78 E. Jadtson Blvd. 
Aimer Coe if Co., 18 S. LaSalle St. 
Aimer Coe if Co., 105 N. Wabash Ave. 
Central Camera Co., 112 S. Wabash Ave. 
Eastman Kodak Stores Co.. 133 N. Wabash Ave. 
Fair, 'The. Dept. 93, State, Adams If Dearborn 

Fischer's Cai 

Service, Rm. 202, 154 E. Eric 
ire y Carpet Co., Wabash at 

Hartman Furnil 

Adams St. 
Ideal Pictures Corp., 26 E. 8th St. 
W. W. Kimball Co.. 306 S. Wabash Ave. 
Leonard Lynn Co.. 302 S. Wells St. 
Lyon &> Healy. Jackson Blvd. fr Wabash Ave. 
Post Office News Co.. 37 W. Monroe St. 
Seamans. Photo Finisher, 7052 Jeffery Ave. 
Stanley- Warren Co., 908 Irving Park Blvd. 
Von Lengerke tf Antoine. 3 3 S. Wabash Ave. 
Watry if Heidkamp, 17 W. Randolph St. 
Decatur: Haines if Essick Co., 121-128 E. Willii 



Coe 6? Co., 1645 Orrington Ave. 
inders, 702 Church St. 
m's Camera Shop, 17 S. Chicago 

is Camera Shop, 84 S. Prairie St. 

in Photo Shop. 316 E. State St. 
1 Shop. 320 S. 5th St. 

Galesburg: Illir 
Rockford; John 
Springfield: Cai 
Sterling: Ray Hart, 8-10 E. 4th St. 

Anderson: Reed Drug Co.. 37 W. 11th St. 
Evansville: Smith if ButterSeld Co.. 310 Main St. 
Fort Wayne: Biechler-Howard Co., 112 W. Wayne 

Rogers Optical Co.. 824 Calhoun St. 
Frankfort; Pathex Agency. 206 E. Walnut St. 
Indianapolis: L. S. Ayres if Co., Camera Dept., 1 
W. Washington St. 
H. Lieber Co., 24 W. Washington St. 
South Bend: Ault Camera Shop, 122 S. Main St. 
Ault Camera Shop, 309 S. Michigan St. 


Cedar Rapids: Camera Shop. 220 Third Ave. 
Davenport: Eastman Kodak Stores, Inc., 318 Brady 

)es Moines: Eastman Kodak Sti 

Locust St. 
;rinnell; Child Art Rooms, C; 
Dwa City: Rexall if Kodak Stoi 
ioux City: Eastman Kodak 

Pierce St. 

, Inc., 808 

e Dept. 

. 124 E. College St. 

Stores, Inc., 608 


Hall Stationery Co., 623 Kansas Ave. 
le: W. D. Gatchel ^Sons. 431 W. Walnut 

Fe Co., 225-227 S. 4th Ave. 

loute; Ewing. Inc.. P. O. Box 905. 
)rleans: Eastman Kodak Stores. Inc.. 213 
ine St. 
lort: Southern Cine Co.. Inc.. 310 Milam St. 

Francis A. Frawley. 104 Main St. 
ire: Amateur Movie Service. 85 3 N. Eutaw 

Kodak Stores, Inc.. 223 Park Ave. 
Boston: Eastman Kodak Stores, Inc., 38 Bromfield 
Eastman Kodak Stores, Inc.. Hotel Statler. 
Ralph Harris if Co.. 30 Bromfield St. 
iver Johnson Sporting Goods Co., 155 Washing- 
ton St. 
Jordan Marsh Co. 

Andrew J. Lloyd Co., 300 Washington St. 
Montgomery-Frost Co., 40 Bromfield St. 
Pathescope Co. of the N. E., Inc., 260 Tremont 


if Sm.i 
Vl. Tayl. 

h Co 


Braintree: Alves Photo Shop, Washington St. 

Brockton: Raymond C. Lake, 218 Main St. 

Lowell: Donaldson's, 77 Merrimack St. 

New Bedford; J. Arnold Wright. 7 S. 6th St. 

Pittsfield: E. J. Curtis. 397 North St. 

Salem; Robb Motion Picture Service. 214^2 Essex St. 

Springfield: J. E. Cheney if Staff, Inc., 301 Bridge 

Harvey if Lew 
Worcester: J. C 
L. B. Wheato 

8 Co., 1503 Main St. 
Freeman if Co., 376 Main St. 
, 368 Main St. 

University Music House, 601-5 E. 

Ann Arbo: 


Bay City: Bay City Hdw. Co., Sporting Goods 
Dept.. 1009-15 Saginaw St. 
•Detroit: Clark Cine-Service, 2540 Park Ave. 
Detroit Camera Shop, 424 Grand River, W. 
Eastman Kodak Stores, Inc., 1235 Washington 

Fowler if Slater Co., 156 Larned St. 
J. L. Hudson Co., Dept. 290. 
Metropolitan Motion Picture Co., 2310 Cass Ave. 
E. B. Meyrowitz. Inc.. 1516 Washington Blvd. 
United Camera Stores, Inc., 14611 Jefferson 

Ave., E. 
Grand Rapids: Camera Shop. Inc., 16 Monroe Ave., 

N. W. 
Jackson: Royal Film Service, 178 Michigan Av. W. 
Lansing: Linn Camera Shop, 109 S. Washington 
Vans Cine Service, 201 American State Bank Bldg. 
Muskegon: Beckquist Photo Supply House, 885 
First St. 
Radium Photo Service, 320 W. Western Ave. 
Saginaw; Hesse's, Genesee at Jefferson 

Duluth: Zimmerman Bros., 330 W. Superior St. 
Minneapolis: Eastman Kodak Stores, Inc., 112 S. 

Fifth St. 
E. B. Meyrowitz. Inc.. 825 Nicollet Ave. 
Sly Fox Films. 49 S. 9th St. 
Oak Island; Oak Island Shop. 
Owatonna: B. W. Johnson Gift Shop, 115 W. 

Bridge St. 
St. Paul: Co-operative Photo Supply Co., 381-3 
Minnesota St. 
E. B. Meyrowitz, Inc., 358 St. Peter St. 
Ray-Bell Films. Inc.. 817 University Ave. 
St. Marie Cigar if News Co.. 96 E. 5th St. 
Zimmerman Bros., 320 Minnesota St. 
Winona: Van Vranken Studio, 57 W. Fourth St. 

Kansas City; Z. T. Briggs Photographic Supply 
Co.. 916 Grand Ave. 
Z. T. Briggs Photographic Supply Co., 1006 Main 

Z. T. Briggs Photographic Supply Co., 21 E. 

11th St. 
Hanley Photo 6f Radio Shop, 116 E. 10th St. 
St. Louis: A. S. Aloe Co.. 513 Olive St. 
Bennett if Dailey Enterprises. 1502 N. Union 

Erker Bros.. 707 Olive St. 
Geo. D. Fisher if Co.. 915 Locust St. 
Hyatt's Supply Co.. 417 N. Broadway. 
M. F. Rudi Drug Co., 15 at Cass Ave. 
Springfield: Hurlburt Supply Co., 315 St. Louis St. 

Hastings; Carl R. Matthiesen if Co.. 713 W. 2nd 

Omaha; Eastman Kodak Stores. Inc.. 4 19 S. 16 St. 



istman Kodak Ston 


ish if Read. Inc.. 30 
;wark: Anspach Bros.. 858 Broad 
. Bamberger if Co. 
ireman's Drug Store. M,irkct and 
chaeffer Co.. 103 H.ilsev St. 
linfield: Mortimer's. 317 Park Av 
enton: Barlow's— Music. 130-13: 

E, Slate St. 

Albany: E. S. B;ildwin. 32 Maiden Lane. 
F. E. Colwell Co.. 465 Broadway 
Binghamton; A. S. Bump Co.. IRO Washington St. 
Brooklyn; Geo. I. McFaddrn. Inc., 202 Flatbush 

F. Ada 



•Indicates dealers whose services are more fully described in our advertising columns 

105 WEST 40th ST. MOVIt/ JVlAlx.JblA.O, NEW YORK CITY 
$3.00 a Year (Canada $3.25, Foreign $3.50) 25 Cents a Copy (Foreign 30 Gents) 

M O «' I ■- »■ /« M. E K S 

United Projector if Film Corp., 228 Franklin St. 
Whinihan Bros, tf Co.. Inc., 746 Elmwood Ave. 
Corning: Ecker Drug Store, 47 E. Market St. 
Haverstraw: E. H. Vandenburgh, 3 Broadway. 
Ithaca: Henry R. Head, 109 N. Aurora St. 
W. R. Tompkins, 140 E. State St. 
New York City: Abercrombie tf Fitch, .4Sth ff 
Madison Ave. 

s and its Subsidiaries, 131 Varick 



J. H. Boozer, 173 E. 60th St. 

Brcntano's, 1 W. 47th St. 

City Camera Co., 110 W. 42nd St. 

Abe Cohen's Exchange. 113 Park Row. 

Columbus Photo Supply, 146 Columbus Ave. 

Cullen, 12 Maiden Lane. 

Davega. Inc., 1 1 1 E. 42nd St. 

Davega. inc., 152 W. 42nd St. 

Devoe 6" Raynolds Co., Inc.. 34 E. 42nd St. 

Eastman Kodak Stores, Inc., Madison Ave. »t 
45th St. 

Eastman Kodak Stores, Inc., 235 W. 23rd St. 

H. a D. Folsom Arms Co., 314 Broadway 

Gall if Lembke, Inc., 7 E, 48th St. 

Frank Gar6nkcl, 141 Avenue A 

Gillette Camera Stores, Inc., 117 Park Ave. 

Gillette Camera Stores, Inc., 16 Maiden Lane 

Gloeckner H Newby Co., 9 Church St. 

Herbert if Huesgen Co., 18 E. 42nd St. 

Lowe tf Farley, News Stand, Times Bldg. 

Lugene, Inc.. 600 Madison Ave. 

Medo Photo Supply Corp., 323-325 W. 37th St. 

Meta Photo Supply Co., 122 Cedar St. 

E. B. Meyrowitz. Inc., 520 Fifth Ave. 

Mogull Bros., 2025 Boston Rd. 

George Murphy. Inc., 57 E. 9th St. 

New York Camera Exchange, 109 Fulton St. 

Pickup If Brown, 41 E. 41st St. 

Rab Sons, 987 Sixth Ave. 

C. F. Ray, 296 Fifth Ave. 

Schoenig 6" Co., Inc., 8 E. 42nd St. 

Stumpp if Walter Co.. 30 Barclay St. 

H. F. Waterman. 63 Park Row. 

WiUoughby Camera Stores. Inc.. 110 W. 32 St. 
~ Scelc Studio, 150 N. Union St. 

:: Cundy Gift W Art Shop. 27 Market 
Rochester: Marks S Fuller Co.. 36 East Ave. 

Sibley. Lindsay if Curr Co.. Camera Dept. 
Stamford-in-the-Catskills: E. S. Burtis. 
Syracuse: Clark Music Co.. 416-20 So. Salina St. 

Geo. F. Lindemer, 443 S. Salina St. 
Utica: Edwin A. Hahn. HI Columbia St. 
Watertown; Edscn E. Robinson. Inc.. 111-113 
Washington St. 

Akron: Dutt Drug Co.. 7 E. Eichange St. 

Pockrandt Photo Supply Co.. 16 N. Howard St. 
Canton: Ralph \V. Young. 139 S. Cleveland Ave. 
Cincinnati: Ferd Wagner Co., 113 E. 5th St. 

Huber Art Co.. 124-7th St., W. 

John L. Huber Camera Shop. 144 E. 4th St. 

Movie Makers, Inc., 110 W. 8th St. 

L. M. Prince Co.. 108 W. 4th St. 
Cleveland: Dodd Co., 652 Huron Rd. 

Eastman Kodak Stores. Inc.. 1126 Euclid Ave. 

Escar Motion Picture Service. Inc., 10008 Car- 
negie Ave. 

Fowler 6r Slater Co., 806 Huron Rd. 

Fowler if Slater Co., 347 Euclid Ave. 

Fowler if Slater Co., 1915 E. 9th St. 

Home Movies Co., 1501-7 Superior Ave. 

Lyon if Healv, Inc.. 1226 Huron Rd. at Euclid 

Optical Co., 735 Euclid Ave. 

* Stone Film Laboratory. 8S07 Hough Ave. 
Columbus: Capitol Camera Co.. 7 E. Gay St. 

Columbus Photo Supply. 62 E. Gay St. 
Dayton: Davton Camera Shop. 1 Third St.. Arcade 
Norwood: Home Movie Service Co.. 2128 Cathe- 
dral Ave. 
Toledo: Franklin Print, if Eng. Co.. 226-36 
Huron St. 
Gross Photo Supply Co.. 325 Superior St. 
Lawrence's. 1604 Sylvania Ave. 
Leo MacDonough, 1103 Detroit Ave. 
Youngstown: Fowler if Slater Co.. 7 Wick Ave. 

Oklahoma City: Roach Drug Co.. 110 W. Main St. 
Tulsa: Camera Shoppe. 5195^ Main St.. S. 
Alvin C. Krupnick. 9 E. 6th St. 

Pendleton: Floyd A. Dennis. 

Portland: Eastman Kodak Stores, Inc., 345 Wash- 
ington St. 
J. K. Gill Co.. 5th if Stark Sts. 
Lipman Wolfe if Co.. Kodak Dept., Fifth, Wash- 
ington if Adier Sts. 

Erie: Kelly if Green. 116 W. Uth St. 
Harrisburg: Maxwell H. Hite if Son, 422 S. 13th St. 
James Lett Co.. 225 N. 2nd St. 
Lancaster: Darmstaettcr's, 59 N. Queen St. 
Mt. Carmel: Stecker's Book Store. 20 N. Oak St. 
Philadelphia: Amateur Movie Corp., 132 S. 15th St. 
Eastman Kodak Stores. Inc.. 1020 Chestnut St. 
Jos. C. Ferguson. Jr., 1804 Chestnut St. 
Strawbridqe if Clothier, Market, Eighth if Fil- 
bert Sts. 
John Wanamaker, Dept. 56. 

• Williams, Brown if Earlc. Inc., 9IS Chestnut St. 
Pittsburgh: Eastman Kodak Stores, Inc., 606 Wood 


Kaufmann's Dept. Store.. Dept. 62 Filth Ave. 

Root's Kamera Exchange. 11 Fifth Ave. Arcade. 
Reading: Alexander Kagen, 641 Penn St. 
Shamokin: John B. Conbere, 31 S. Owl St. 
Wilkes-Barre: Ralph E. DeWitt. 60 W. Market St. 

Zwiebel-Stenger Sales Co.. 203 S. Main St. 

Newport: Rugen Typewriter if Kodak Shop. 295-7 



Providence: E. P. Anthony. Inc.. 178 Angell St. 
Chas. S. Bush Co., 244-246 Weybosset St. 
Starkweather if Williams. Inc., 47 Eichange PI. 
Chattanooga: Englerth Photo Supply Co., 722 

Cherry St. 
Memphis: Memphis Photo Supply Co., Hotel Pea- 
body. 86 S. 2nd St. 
Nashville: G. C. Duty if Co., 420 Union St. 

Beaumont: Thames Magnolia Store. 2599 Mag- 
nolia St. 
El Pa»o: Schuhmann Photo Shop, P. O. Boi 861. 
Ft. Worth: Chas. G. Lord Optical Co., 704 Main 

Houston: Miller Studio. 1321 Capitol Ave. 
Star Elec. if Eng. Co.. Inc.. 613 Fannin St. 
San Antonio: Fox Co.. 209 Alamo Plata. 
E. Hcrtzberg Jewelry Co., Houston at St. Mary'i 

Salt Lake City: Salt Lake Photo Supply Co., 271 
Main St. 
Shiplers, 144 S. Main St. 

Burlington: Robert T. Platka, 231 S. Prospect St. 
Rutland: Geo. E. Chalmers Co., Inc. 

Norfolk: S. Galeski Optical Co.. 209 Granby St. 

G. L. Hall Optical Co.. 257 Granby St. 
Richmond: S. Galeski Optical Co.. 737 E. Main St. 
G. L. Hall Optical Co., 418 E. Grace St. 
Seattle: Anderson Supply Co.. Ill Cherry St. 
Eastman Kodak Stores. Inc.. 1415.4th Ave. 
Lowman if Hanford Co.. 15 14— 3rd Ave. 
Motion Picture Service. 903 Lloyd Bldg.. Sixth 
Ave. and Stewart St. 
Spokane: Joyner Drug Co.. Howard if Riverside 

Tacoma: Shaw Supply Co.. Inc. 
E. W. Stewart if Co.. 939 Commerce St. 
Yakima: Bradbury Co., 19. S. Second St. 

Wheeling: Twelfth St. Garaee. 81-12th St. 

Eau Claire: Davis Photo Art Co. 
Fond du Lac: Huber Bros., 36 S. Main St. 
Green Bay: Bethe Photo Service, 125 Main St. 
LaCrosse: Moen Photo Service, 313 Main St. 
Madison: Photoart House, 212 State St. 
Milwaukee: Boston Store, Wisconsin Ave. if 4th 
H. W. Brown if Co., 87 Wisconsin St. 
Eastman Kodak Stores, Inc., 427 Milwaukee St. 
Gimbel Bros., Kodak Dept., Wisconsin Ave. S 
W. Water St. 

Photoart House of Milwaukee, 220 Wells St. 
Waukesha: Warren S. O'Brien Commercial Studio. 
353 W. Broadway. 



Cdpe Provi' 

Cape Town: Kodak (South Africa) Ltd., "Kodak 
House", Shortmarket and Loop Sts. 
Hew South Wales 
Sydney: Harringtons, Ltd., 386 George St. 
Kodak (Australasia) Ptv. Ltd., 379 George St. 
Hew ZeaUnd 
Wellington: Kodak (Australasia) Pty. Ltd., Box 
1474, G.P.O. 

Brisbane: Kodak (Australasia) Pty. Ltd., 250 Queen 

South Australia 
Adelaide: Harringtons. Ltd.. 10 Rundle St. 
Kodak (Australasia) Pty. Ltd., 37 Rundle St. 
Hobart: Kodak (Australasia) Pty. Ltd.. 45 Eliza- 
beth St. 

Melbourne: Charles W. Donne, 349-51 Post 
Office Place. 
Harringtons. Ltd., 266 Collins St. 
Kodak (Australasia) Pty., Ltd., 284 Collins St. 
Kodak (Australasia) Pty., Ltd., 161 Swanston St. 
Technical Journals Pty., Ltd., Temple Court, 422 
Little Collins St. 

Westcrti AustTclid 
Perth: Kodak (Australasia) Pty. Ltd., Hay St. 

B. K. Elliott if Co.. 126-6th St. 
Joseph Home Co., Magazine Dept. 

Calgary: Boston Hat Works, 109 Eighth Ave. 

Briti.ih Columbia 
Vancouver: Eastman Kodak Stores. Ltd.. 610 Gran- 
ville St. 
Film if Slide Co. of Can.. Ltd., 319 Credit 
Foncier Bldg. 

Winnipeg: Eastman Kodak Stores. Ltd.. 472 Main 

Hamilton: W. Hill if Bro.. 90 W. King St. 
Ottawa: Photographic Stores. Ltd., 65 Sparks St. 
Toronto: Eastman Kodak Stores, Ltd., 66 King St. 

T. Eaton Co., Dept. V..6, 190 Yonge St. 

Film if Slide Co. of Can., 156 King St., W, 

Lockhart's Camera Exchange, 384 Bay St. 
Montreal: T. Eaton Co.. St. Catherine St., W. 

Film if Slide Co. of Can.. Ltd.. 104 Drummond 

Gladwish if Mitchell. 147 Peel St. 

Hong Kong: The Pharmacy. Fletcher if Co.. Ltd., 

26 Queen's Rd.. Central. 
Shanghai: Chiyo-Yoko. P 470. Nanking Rd. 
Eastman Kodak Co.. 64 Kiangse Rd. 
Copenhagen V: Kodak Aktieselskab. Vodroffsvej 26. 

Java: Kodak. Ltd.. Noordwijk 38. Weltevreden 

Harrogate: A. R. Baines. 39 James St. 
London. S. W. I.: Westminster Photographic Ex- 
change. Ltd.. 119, Victoria St. 
London, W. C. 2: Sands, Hunter 6? Co., Ltd., 

37 Bedford St.. Strand. 
London. W.I.; Bell if Howell Co.. Ltd., 320 Re- 
gent St. 
J. H. Dallmeyer, Ltd., 31 Mortimer St., Oi- 

ford St. 
Wallace Hcaton. Ltd.. 119 New Bond St. 
Wallace Heaton. Ltd.. 47 Berkeley St.. Piccaddilly. 
Westminster Photographic Exchange. Ltd.. 62, 
Westminster Photographic Exchange. Ltd.. 111. 
Oxford St. 
Sheffield: Wm. Mcintosh (Sheffield) Ltd.. Change 

Sheffield Photo Co.. 6 Norfolk Row (Fargate). 
Honolulu: Honolulu Photo Supply Co., P. O. 
Box 2999 

Amsterdam: Capi, 115 Kalverstraat. 

Foto Shaap Er" Co.. Spui 8. 
Den Haag: Capi, 124 Noordeinde 
Fotohandcl Ter Meer Derval. Fred. Hendriklaan. 
Groningen: Capi. 3 Kleine Pelsterstraat 
Nijmegen: Capi. 13-17 Van Berchenstraat 

Capi. Broerstraat 48. 
Rotterdam: Bollemeijer if Brans. Korte Hoogstraat 

Budapest, IV: Pejtsik Karoly, Varoshaz U-4. 

Bombay: Hamilton Studios. Ltd., Hamilton House. 

Graham Rd.. Ballard Estate 
Calcutta: Army if Navy Coop. Soc. Ltd.. 41 
Chowringhee St. 

Milan 29: Kodak Societa Anonima, Via Vittor 
Pisani 6. 

Kobe: Honjo if Co., 204-5 Motomachi 6-Chome 
Kyoto: J. Osawa if Co., Ltd., Sanjo Kobashi. 
Osaka: Fukada if Co., 218 Dojima Bldg. 
T. Uyeda, No. 4 Junkeimachi Shinsaibashi-suji, 



Tokyo: Home Movies Library, 515 Marunouchi Bldg. 

Mexico City: American Photo Supply Co.. S. A.. 
Avenida F. I.. Madero. 40. 
Kodak Mexicana. Ltd.. Independencia 37. 
Pathe Baby-Agency for Mexican Republic; Latapi 
Y Bert. Av. 16 de Septiembro 70. El Globo. 
Puebla: Casa "Hertes". Av. Reforma 109 

Oslo: J. L. Nerlien A/S. Nedre Slotsgate 13 
University Book Shop 

Manila: Denniston. Inc.. P. O. Box 255 
Ancon: Specialty Shop, Box B. 

Panama City: Lewis Photo Service. 1 Fourth of 
July Ave. 

Edinburgh: J. Lizars. 6 Shandwick PI. 
Glasgow: Robert Ballantine, 103'/2 St. Vincent St.. 
Nr. Renfield St. 
J. Lizars, 101 Buchanan St. 
Bangkok: Prom Photo Studio, New Rd., Cor. Char- 
tered Bank Lane. 

Barcelona: James Casals, 82, Viladomat St. 
Madrid: Kodak Sociedad Anonima, Puerta del 
Sol 4. 

Singapore: Y. Ebata if Co., 33 Coleman St. 

Medan: Y. Ebatat if Co.. 69 Kesawan. 

Stockholm: A. B. Nordiska Kompaniet. Photographic 

Lausanne: Kodak Societe Anonymc. 13 Av. Jean- 

Jacques Mercier. 
Winterthur: Alb. Hoster. Marktgasse 57 
Zurich: Zulauf (Vorm. Kienast S Co.). Bahn- 
hofstr. 61. 



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To Dealers who desire Profits from opera' 
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Our Experience and Resources assure Suc' 
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Broken Film Connector 
12 in Package 25c 


'/ . 

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200 f(. 50c; 400 It. 75c 

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The Eye Follows the Picture — The Ear Tells the Footage 

They are now obtainable 




PRICE $7.50 

Remember no 

alteration to your 



When you press the button on your Kodak you get the Picture. Not 
so with the Movie Camera, it is the footage of film that counts. One 
audible click of the Footage Meter tells you that one foot of film has 
passed through the camera, or two and one-half seconds for projec- 
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Price with Case $35.00 

New Beauty in Your Pictures with 



The»e photo^nxphj< tcere made at the same time 
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photograph iras made icith ordinary- film: the 
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matic Film. The superiority of Panchromatic Fihn 
is apparent at a glance^ 

I-NE-KODAK Panchromatic film is sensitive to all 
colors occurring in nature. It has not the liniita- 
tion« of ordinary film, which is sensitive chiefly to blue, 
violet and ultra-violet. As a result. Cine-Kodak Pan- 
chromatic film brinas out everything in the picture in its 
properblack and v« bite relationship. The result is a black 
and white photograph that is infinitely superior to that 
made with ordinary film. 

' It is not necessary to use a filter with Cine-Kodak 
Panchromatic film, but an even greater improvement in 
landscape and cloud photography is at once apparent 
when this is done. Except for portraiture, the Cine- 
Kodak filter i> recommended for general use with Cine- 
Kodak Panchromatic film. A filter should not be used for 

Cine-Kodak Panchromatic film is just as easily used 
as is ordinary film. It is daylight-loading and is processed 
by the famous reversal process. Duplicates can be made 
from panchromatic originals, of course. 

The use of the (!ine-Kodak filter involves only the 
clipping of th«- filler into or over the len> barrel — depend- 
ing upon the type <if camera usetl. The filter is so small it 
can be carried in the vest pocket. 

Cine-Kodak Panchromatic film brings to your pictures 
a sparkle and quality that can be obtained in no other 
way. It gives to >our jjictures a new beauty, a new qual- 
itv. that you will not want to miss. 

Cine-Kodak Panchromatic film is priced at ^7. .50 per 
100-foot roU. The color filter for the Cine-Kodak, Model 
B. /.1.9 is priced at S2..50: for the Model B/..3..5 or/.6..5. 
SI. .50. A special front required to equip older models of 
the Model B/..3..5 with a filter i> priced at SI. 

.It Miitr ( iiiP-Kitfluk flfuler's 




Itflasiazime of the /m^mateur Cinoma Leastae, Inc. 

PMCE 23c 

rEBlCl..^l«^ 1»20 


Self Threading Reel 
200 ft. 50c; 400 ft. 75c 

^^Movies in the Home^^ 

Manufactured under Hayden Patents and Patents Pending 


The Eye Follows the Picture— The Ear Tells the Footage 

They are now obtainable 




PRICE $7.50 

Remember no 

alteration to your 



When you press the button on your Kodak you get the Picture. Not 
so with the Movie Camera, it is the footage of film that counts. One 
audible click of the Footage Meter tells you that one foot of film has 
passed through the camera, or two and one-half seconds for projec- 
tion. A picture worth taking should have ten seconds of projection 
or four clicks or as many more as you desire. Saving film while avoid- 
ing disappointment will pay for the Hayden Audible Footage Meter 
in a short time. 

Yes, They Are Coming 


And That Is Not All. 


Brockton, Mass., U.S.A. 

Please send free your booklet with Film Log for my films. 

Name .;..__. 

Curtain 3x4 or 4x5 Ft. 
and Stand $30.00 


IMO'TIE im;%kers 


Fourth Step: 

First Step: 


Gives all the primary 
light YOU need for per- 
fect interior shots — with 
illumination to spare. 
Safe, clean and noiseless. 
Simple to use. Quick 
and easy to set up and 

Uses 1,000 Watt Mazda 
hulb, connects to any con- 
venient electric socket, 15- 
foot extension cord, un- 
breakable plug. Portable 
stand, adjustable for 
height. Large prefocused 
reflector, tilts to any angle. 

The use of an uhrafast lens is advisable. 
We recommend this all-purpose lens 
which retains all its efficiency despite the 
extreme opening used for interior work. 

l" Focus — ^60.00 

Third Step: 

A scientifiL and atcuidte pxposuie meter, 
indispensible for all work and very help- 
ful on deceptive artificial lighting. Com- 
plete with sole leather case, $12.50. 


Get this interior equipment at Cullen's, 
where practical instruction, advise based 
on actual experience, and an uncondi- 
tional guarantee are included in every 
sale of merchandise. 






FCBRl.i;«R^ 1929 

February Doings 

for the Movie Maker 

^ n^ Recommendations based 
^^ on 21 years' Experience 

For Better Projection 


Bright crisp details on the screen, that 
you never dreamed your films possessed 
— full illumination on a larger screen; 
such are the advantages of the new Bell 
6? Howell 250-Watt Projector. The price 
is $240.00, against which we will make 
a liberal allowance on your present pro- 

For New Entertainment I « 


Have ALL your friends seen ALL the pictures you made of 

ALL your doings, last summer? 

Then freshen up the flickering beams with some of the splendid 

Library Reels we sell: 




For Full-timed Winter Shots 

Dull days, short afternoons, 
whirling snow flakes, indoor 
scenes by daylight — all these 
conditions are mastered with 
a Dallmeyer Ultra-Speed 
Lens. Type illustrated gives 
double sized image. 2 inch 
/-1. 9, $75.00. Send for 
Dallmeyer Lens Guide and 
Price List. 


For Well Cut and Titled Reels 

You can do it yourself with any of the standard titling outfits, 
which we gladly show you how to use, or you can simply bring us 
your reels with a few "editorial" suggestions, and we will 

just as it is done for the big producers, by professionals. 
For supreme convenience and accuracy in your own cuttings, see 
the wonderful new "MOVIOLA" $225.00. Circular on request. 


18 East 42ni> Street 


Classified Advertising 

SPECIAL BARGAINS— Filmo Super Speed 
Camera with 1" /-1.5 Plasmat and case, 
$170.00; Victor Camera with 1" /-3.5 Cooke 
lens, $92.50; Kodascope A Projector, 56 
watt bulb. $45.00; Kodascope C Projector, 
$30.00; 2" /-1.9 Dallmeyer lens for Filmo, 
$47.00; 1" /-1.5 Meyer Plasmat for Filmo, 
$35.00; 1" /-1.5 Dallmeyer lens for Filmo, 
$40.00; 100 ft. Ernemann M. P. Camera 
/■3.5 lens for standard film, with case, 
$30.00: second-hand Thalhanimer Kino 
Pano Tripod. $22.50. WILLOUGHBYS, 110 

West 32nd St., New York. 

FOR SALE — Model A Kodascope and case 
bought in June; little used; price. $175.00. 
Roy Nelson, 4 Viking Terrace. Worcester, 

BRAND NEW Victor turret camera with 
Wollensak 3.5, Meyer 1.5, Goerz three-inch 
telephoto lenses. Used few times as dem- 
onstrator. Cost $295, bargain at $235. Art. 
Florez, Texon, Texas. 

FOR SALE— One Professional Ail-Metal De 
Brie Camera and full equipment in perfect 
condition. Automatic dissolving shutter — 
ground glass focus ; full set of hard and soft 
masks; 114", 2". 3" Zeiss lenses; extra 
magazines; B. & H. Tripod; carrying cases 
for all. Cost $1,600; first $700 takes it. 
H. Hillier, 1956 Elmhurst Ave., Detroit, 

CASH for amateur or professional cine 
apparatus. Send full description. Old ap- 
paratus taken in exchange. Bass Camera 
Company, 179 W. Madison St.. Chicago. 


WISH to buy, in 16 mm., any scenes of 
Stanford-Army football game. D. S. Maas, 
1242 Francisco St., San Francisco. Calif. 

BEST'S STUDIO, oldest established studio 
in the Yosemite National Park, Calif., offers 
16 mm. films of Yosemite. Enchanting water- 
falls, mammoth rocks, rugged cliffs, beau- 
tiful and unusual reflections, interesting 
movies of the bear, deer and elk. Winter 
scenes and sports, and high Sierra vistas. 
The most complete set of films ever offered 
of the Yosemite. Photography by Onas M. 
Ward. "The Photographer of Yosemite." 
For detailed information address Onas M. 
Ward, care of Best's Studio, Yosemite Na- 
tional Park, Calif. 

GUARANTEED perfect and fresh 35 mm. 
panchromatic negative film in 100-foot rolls 
with ten feet of black leader at each end 
for Eyemo and DeVry cameras $4.00. The 
same, but on spools for daylight loading 
$4.50. Packed in light proof tin cans. Unless 
check accompanies order goods will be 
shipped C.O.D. within the U. S. Hollywood 
Movie Supply Co., 6058 Sunset Blvd., Holly- 
wood, Calif. 


nnHROUGH an error, greatly 
■'- regretted by the staff, the 
paging of Volume IV of Movie 
Makers, which began with the 
January, 1929. issue, continued 
the paging of Volume 111 and 
ii'as numbered from page 837 to 
900, instead of beginning again 
with page 1. The error is cor- 
rected in this issue, which estab- 
lishes the proper paging of the 
volume, beginning with page 71. 

'Hit^^i. 'A , % 






Cover Design, Yesterday and Today Edgar Bohlman 

Featured Releases, for Home Projectors '■♦ 

Editorial ' 

A Word About the Amateur Cinema League " 

On Top of the World, A Cine Silhouette from Scandinavia ' H. Armstrong Roberts 78 

Scandinavian Cinematics Hugo J. Bartholomae 79 

Closeup Telephotography Herbert C. McKay, A .R.P.S. 81 

The Secrets of "Making Big Ones Out of Little Ones" 

Slowly P""' ^- Hugon 83 

An Authoritative Discussion of the Amateur Actor's Greatest Problem 

The Press Turns to the Film ^"^ 

A Great Newspaper Finds Amateur Movies a Business Asset 

A Simplified Guide to Cinematic Composition Walter Martin 85 

Second of a Series of Practical Diagrams 

Comedy Relief, How to Enliven Your Films Epes W. Sargent 86 

The Clinic ^^ 

Photoplavfare, Reviews for the Cintelligenzia °" 

Closeup Versus Long Shot F- ^- Hubbard 90 


Critical Focusing, Technical Reviews to Aid the Amateur " 

Musical Shoes, A Scenario for Synchronization Leonard Hacker 94 

Forensic Filmers "'■ ^- Hempstead, Jr. 96 

The Cinematic Adventures of the World Tour Debaters 

The Grand Idea Monica A.Shenston 98 

In Which the Cinema Saves a Social Situation 

Amateur Clubs, News of Group Filming Edited by Arthur L. Gale 100 

Still, Movie or Both? ^- H. Beardsley 104 

A Discussion of Photographic Relationships 

Editing Hints Lawrence H. Smith 108 

Educational Films Edited by Louis M. Bailey 110 

News of Visual Education in Schools and Homes 

Murky Minarets, An Art Title Background H. V. Schieren 112 

News of the Industry, for A mateurs and Dealers 

Around the World with Movie Makers 128-30-3- 

An International List of the Dealers Who Carry This Magazine 

♦ ♦ ♦ 

MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. 

Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50); to members of the 

Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies, 25c. 

On sale at photographic dealers everywhere. 

Entered as second-class matter August 3, 1927, at the Post Office at New York, N. Y., under the Act of March 3, 1879 
Copyright, 1929, by the Amateur Cinema League, Inc. Title registered at United States Patent Office. 

Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pennsylvania 3715. 

Advertising rates on application. Forms close on 5th of preceding month. 

K. L. NOONE, Advertising Manager 

RUSSELL C. HOLSLAG, Technical Editor ARTHUR L. GALE, Club and Photoplay Editor 





FC^RI.'/%1CY 1929 

Have you met ♦ ♦ ♦ 


He's just what bis name implies. Small and compact — just 
about one-half to one-quarter as large as other lights of the 
same or less strength (measure him by the upper carbons in 
the picture which are 12 inches long). Sunny? Yes, sir!! 
He makes fully exposed movies on reversal film 16 per second 
at /3.5 with 1 lamp 8 to 10 feet from your subjects; at /l.S 
or faster 15 to 20 feet from subjects. On regular negative 
film 10 to 12 feet at /3.5 and 18 to 24 feet at /l.S. 

And he's sturdy, too. nothing delicate about him; the knocks 
and jars that are deadly to incandescent bulbs mean nothing 
to him. His smile lights evenly an angle of 90 degrees without 
the bright spot which is present in all the incandescent lamps 
using silver surfaced or highly polished reflectors. This bright 
spot means uneven illumination in your pictures. Little Sunny's 
even illumination is brighter than the bright spot of the in- 
candescent bulb. The result is full exposure over the entire 
picture area. 

Don't judge him by the price which is low because we knew 
he'd make lots of friends and because he is sold only direct 
to the user — no sales through dealers (through dealers the price 
would be S37.50 or more). Compare him with any lamp or 
series of lamps on the market regardless of price. If you 
don't like him (or for any other reason) you can return him 
within 10 days and we'll cheerfully refund your money. 

By the way, he'll be glad to give you sunbaths (ultra-violet) if 
you use the Therapeutic A (Sunshine) carbons. As much 
in four minutes as thirty- minutes of Summer Sunlight. Four 
minutes a day will "pep" you up wonderfully; don't take our 
word for it but ask your doctor. 

"You cannot get the lamps back now. I have exposed 
300 feet of film with them, almost all Christmas pictures 
and they are FINE." 

WM. T. JANTZEN, Berwick, Pa. 

Note: Mr. Jantzen bought two. 

"Received Sunny Twin O.K. Wonderful! Never had 
any experience before with arcs, but I found it easy to 
use Sunny." 

ERNEST W. RAPA, East Boston, Mass. 

"I think Little Sunny Twin is all you claim for him. 
I am more than pleased; he's my baby. (Try to gel him 
sway from me)." 

SCHALKLE STUDIO, Redfield, S. Dak. 


15 Amperes AC or DC 100 to 120 
volts without change. Semi-auto- 
matic: lighted by pulling knob at 
bottom of lamp and burns steadily 
for about 4 minutes; for long con- 
tinued burning, pull the knob once 
every 4 minutes. 

Light strength; movies 16 per sec- 
ond at f3.5 at 8 to 10 feet from 
subjects; stills at /4.5— 1 10th to 
l/15th second, same distance. 
Size: lamp housing 4 x S'z x 9" 
with reflector folded. Reflector 
opened 9 x 9". Carbons: (5. 16 s 
12") National White Flame, Pan- 
chromatic, or Therapeutic A (Sun- 
shine I . Finish : aluminum inside, 
black crystal outside. Can be used 

$25.00 COMPLETE 

from maker to user (no sales through dealers at this price I with heavy 
folding nickel plated stand 6 feet tall, 15 feet of cord, 1 Trim White Flame 
Carbons, 1 Trim Panchromatic. Extra carbons, White Flame, Panchro- 
matic or Therapeutic A (Sunshine) $2.00 per dozen, $15.00 per hundred. 

Also supplied, on special order to use only 10 amperes, giving about half 
as much light as on IS amperes (enough for movies at /2 or faster 10 to 
12 feet from subjects) at the same price. 






For Home Projectors 

Bell tr Howell Co.. Chicago. 111. Announce- 
ment from the Filmo Sale Library for February begins 
with Aviation's Evolution, in which the story ot avia- 
tion IS told up to the present day by means of 100 ft. 
of film. Felix the Cat has two adventures, each a com- 
plete episode in 100 ft. Widely separated from the 
foregoing is A "Kature Series, by William L. and 
Irene Finley of the American Nature Association. In 
this series are: The Humming Bird, the Tmiesi Soul in 
Feathers, and Monkey-faced Owls, each complete in 
100 ft. 

De Vry Corporation-. Chicago. HI. Citizenship. 
suited to the needs of fourth to eighth grade pupils, is 
the third number of this company's Schooi Fiim Les- 
son Courses to which attention has been called in this 
column. It is made up of twelve reels. Immigrdiion, 
American Ideals. Service. Obedience. Thntt, Physical 
and Mental Fitness. School Beautiful. School Disci- 
pime. School Industries. Worlting with Civic Organ' 
izntions. and Serving the Community, the latter in 
two parts. 

Eastman- Kod.^k Company. Rochester. X. Y. 
Wild Men and Beasts of Borneo, a 200-ft. film, heads 
the Cinegraph announcement. Its high lights are de- 
scribed as "excellent shots of wild elephant herds," 
and a thrilling trapping scene. Hawaii has the ambi- 
tious purpose of convincing the world that those 
beautiful islands are not wholly made up of ukuleles 
which descend as a natural gift to man. It is described 
as a lovely scenic picture. We have failed to learn 
through the description of The Early Bird and the 
Worm whether or not the picture ends in the worm's 
fade-out. It is an animated model film m 100 ft. 

The Burton- Holmes Lectures. In-c. Chicago, 
in. Especial stress is laid this month by this famous 
travel library on films which picture our own country. 
Estes PaT}{. Colorado, is descriptive of the Big 
Thompson Canyon, fishing in the North St. Vrain. 
and gives glimpses of iht^ Palisades of the Colorado 
River. Roc^y Mountain .\ationai Park tikes one over 
the Fall River Road, Milner Pass and gives views of 
Horse Shoe Falls, Bear Lake, and Lake Odessa, as well 
as other noted spots. Telloiistone Park Revisited 
needs no detailed description. 



Home Film Libraries. Kc 
of Fciix— this time two 500-ft 
Over, and Felix Doubles for D. 
ber of this '"triumvirate" is I 
100-ft. fiim. The fea: 

ork. N. Y. Thre 
eU, FcUx Puis . 
n, the third men 
Tries to Rest. 
vhich attention 

awn particularly this month is The Taxi Mystery, 
with Edith Roberts and Robert Agnew. 

KoD.\scoPE Libraries. Inc. The Pony Express. 
with Ricardo Corte:. Ernest Torrence, George Ban- 
croft, Wallace Beery and Betty Compson (a Paramount 
Picture), leads the way this month. Attention might 
be called also to the fact that a special offer on various 
subjects is a feature of the Krxlascope current an- 

Pathegr.\ms, 1 Congress St., Jersey Cit>', N. J. 
The February Big Five include three Our Gang Com- 
edies, each in 400 ft., Xo \oise. July Davs and 
Lodge .\igli:. The others are Pidting Peaches, a 400 
ft. Harry Langdon comedy, and The United States 
in Five Minutes, a pictorial travelogue in 100 ft. 
New York. 


editing for the 16mm. 
, of the XoTth Pole, five 
: of the fourteen months" 

In the Shado 
reels. The film is descripti' 
experience of Dr. Constantin Dumbr; 
plateau of Greenland, a trip undertaken in the interests 
of science under the auspices of the Philadelphia Geo- 
graphical Society and in cooperation with the Uni- 
versity of Michigan. 

Ern-est M. Reynolds. Cleveland, Ohio. The 
Pasadena Tournament of Roses, which has been under 
way, is announced this month. Fangs of the \orih. 
in 200 ft., and Through the Thousand Islands (100 
it.) are also offered. 

C^^ FOR THE ^^Cy, 

The Ideal Case for 
Amateur Movie Cameras 

The New Alligator mocatan finish carry- 
ing cases are strongly constructed, plush 
lined, and have compartments for films and 

Can be had in A models— for 

Cine Kodak with F-3.S lens $12.5() 

Cine Kodak with F-1.9 lens 12.50 

Filmo Model 70 15.00 

Filmn Model 7.=; _ 10.00 

F O T O L 11 E 

provides an all vea 

r round and 

almost unlimited sou 

rce of pleas. 

.ire. Its steady, pn 

werful light 

enables vou to take 

perfect pcc- 

tures right in your 

own home— 

ex en on dark and win 

trv davs and 

.It night. 

No. 5 Fotolitc reflec 

or comnlete 

nith stand and 500-« 

a'l hulh. 


' Hugo Mtyer 1 

formula < 





anil for 


with your Filmo 

84 inch focus ?60.00 

1 inch focus 60.00 

Kodacolor attachment 24.00 



Screen Rolled in Case for carryii 

Ideal for Motion Picture Work 

No. — Size 16x3x2Vi — picture surface 9 '4 

xlH/S in. Weights lbs $10.00 

No. 1— Size 33"/2x3'/flx4 — picture surface 

22x30 in. Weight 6 lbs $15.00 

No. 2— Size 451/2x41/2x5 — picture surface 

30x40 in. Weight 15 lbs $25.00 

No. 3— Size 57x4fix5— picture surface Vt 

x52 in. Weight 18 lbs $35.00 

No. 4 — Size 72x5'/Sx5'/2— picture surface 

.^l\fi8 in. Weight 40 lbs $75.00 

C I N O P H O 1 

for use with 
Cine Kodaks and Cameras 
.Automatic — scientifically exact under all 
li;jht conditions. Gives correct diaphragm 
settings for Sun and twilight, outdoors, 
studio, Natural or artificial light. Always 
ready for use. 

Price in Leather Case $12.50 


no WEST 32»">ST. NEW YORK 

KIN()-IVV\() IKU'Olt 

Wood Tripod, Aluminum 
Extension Legs, only 4*4 

pounds. $35.0(1 

Plates for Projector .Attach- 
ment use. $6 and $7.50. 
(-anvas Shut Tite Case, $4. 
Closed 33'/2", Extended 58 
Tilt and Panoram Top onlx 

FEDRU/mR'% I929 

t|«R«S« Projector/ 

Oiiee more Q. R. S. 
puts you out in 
frout . • • this time 
witii tlie projector 
tliat gives every- 
tiiiug you eau ex- 
pect on a screen 


Q. R. !$. 16 m. m. 

Home Movie 
Projector fModei b| 

Aiiotlioi* Q. 1(. S. triiiiiipli— a iiiairvel- 
OHS iM'^v Homo ^lovio Proje«*for— at 
a reiiiarkalily roasoiiablc^ eo^it — so 
light in woiglit as to niakc^ it a most 
practical portable projector— yOO 
foot eapueity. Amazingly qniot— 
amazingly simple l^VoniU'rfnl illumi- 
nation. Saifi'ly ilcvii'C prof eels film 
against blistering. 

$37.50 hand opera(e«l. Jii5.'».00 
eqnippeil with universal motor. 

Rea<l specificati4»ns in colnnin at 

Healers, write or wire The i\. IK. S. 
Company (established i»00). Chi- 
cago, at once for full particulars and 

with carryiug 

c*ase and 



!• Prat'lically silent oper- 
ation, wliether hand or 
motor driven. 

2. Qniek accessibility to all 

ii. Simple film tlireadinfi 


•\m Two-inch fociisinp lens. 

3. Prefocus socket to ac- 
comnifidate standard pre- 
focus lamp. 

6. Brilliant illumination — 
retaining all detail in your 
pictures. Projects standard 
amateur movie size on 

7. Rewind film without re- 
ino\inji reels. 

S. Equipped with auto- 
malic li^ht trap which pre- 
vents powerful beam from 
blistcrins film when stop- 
ping projection. 
O. Can be stopped for still 
projection without injury 
to film. 

10. Comes fully equipped 
— including two 400 foot 
reels — one 100 watt prefocus 
lamp and carrying case. 

11. Portability — weighs 
only l^^ pounds. Size of pro- 
jector proper is 7" wide x 

101/2" hifihx 11" deep. 

12. Only two bolts and 
nuts necessary to attach 
universal electric 110 volt 






WE are pleased to announce as Technical Consultant of the Amateur Cinema 
League and as Technical Editor of Movie Makers, Mr. Russell C. Holslag, who 
succeeds Mr. Walter D. Kerst in these capacities. Mr. Holslag is an amateur cinema- 
tographer of long standing and wide experience and has established a record of experi- 
ment and invention in this field. He comes to us from the Engineering Department of 
the New York Central Railroad and has been active in the photographic and cinema- 
tographic work of that organization. Previously Mr. Holslag was engaged in commer- 
cial cinematography. 

THE amateur movie maker has won his official 
bay-leaves. MoviE Makers was happy to re- 
port in our December number that Wilton Bar- 
rett, Secretary of the National Board of Review of 
Motion Pictures, considers The Fall of the House 
of Usher, the amateur production of J. S. Watson, 
Jr., and Melville Webber, the most significant advance 
the motion picture has made since The Cabinet of 
Dr. Caligari. Mr. Barrett feels that this film has 
opened a new vista of accomplishment in cinematic art. 

Q This is not only high praise but high praise from 
the source best qualified to give it. The National Board 
of Review of Motion Pictures, which celebrated its 
twentieth anniversary the end of last month at its 
annual conference in New York City, performs for the 
motion picture industry and at the behest of that in- 
dustry, a most important function in passing on all of 
the products of professional studios that request such 
service — and this means all but a very small fraction 
of production companies. Therefore, the head of the 
professional evaluating and approving organization 
has placed an amateur photoplay at the top of the list. 

fl All amateurs may rejoice at this tribute. There 
should also come to all amateurs a deep sense of respon- 
sibility for the future development of cinematic art. 
In the short space of five years they have produced 
better work than professionals and the question of 

A Word About the Amateur Cinema League 

THE Amateur Cinema League is the international organization of movie 
amateurs founded, in 1926, to serve the amateurs of the world and to render 
effective the amateur's contribution to cinematography as an art and as a human 
recreation. The League spreads over fifty countries of the world. It offers a 
technical consulting service; it offers a photoplay consulting service; it offers a 
club consulting and organizing service; it conducts a film exchange for amateur 
clubs. Movie Makers is its official publication and is owned by the League 'I he 
directors listed below are a sufficient warrant of the high type of our association 
Your membership is invited, if you are not already one of us. 

Amateur Cinema League, Inc., Directors 

amateur inferiority will not again arise. There should 
be a friendly emulation between amateur and profes- 
sional to produce the best motion picture art. There 
should be no hostility between them and each should 
lend to and borrow from the other. 

^ Amateurs should be more and more watchful of 
their product and should not be satisfied with less than 
their best. We are now partners with the professional 
in responsibility for the proper use of the motion pic- 
ture as an artistic and as a social medium. Wc must 
take care that we do not invite lower rating in future 
because of slipshod production. 

^ Amateurs who accept this responsibility will be 
watchful of every assault upon the motion picture. 
Their attention is particularly directed to legislation 
which, in the so-called Hudson Bill, now lies before 
Congress. This bill proposes a national control of 
motion picture production and indirectly provides a 
national censorship of films. We believe that an exam- 
ination of this proposed legislation will show it to be 
an unwarranted attack upon artistic liberty, as it un- 
questionably is an efl^ort to assume governmental con- 
trol of an existing industry. We recommend that each 
amateur find out what his specific thought is about 
the Hudson bill and that, after finding out, he inform 
his congressional delegation. Here the amateur can 
serve in giving Congress a definite public opinion. 

Architect, of New York City 

w. e. cotter 

30 E. 42nd St., New York City 

of Personnel and Training, 
Standard Oil Co. of N. J. 

Managing Director 

ROY W. WINTON, New York City 

Treastii er 

A. A. HEBl RT 

1711 Park St., Hartford Conn 

Director of Recreation 
Russell Sage Foundation 

list, of Litchfield, Conn. 

Address inquiries to AMATEUR CINEMA LEAGUE, Inc.105 West 40th Stree-t 

New York, New York 



A Cine Silhouette from Scandinavia 

rl.ologr.ipll bv H. .\... ... ..1. K..bcT 

10'%'IC !M>«KER» 



IN the great exodus of Americans 
to Europe each year there is one 
region that is sadly neglected — 
the Scandinavian Peninsula. Whether 
this is so through misapprehension 
or indifference is hard to determine. 
The climate is not severe; Scandi- 
navia is not remotely inaccessible, 
and it affords a great deal of interest 
to the cine traveler, both as to color 
and historic background. 

So when, last year, I found that I 
could spend three months in Scan- 
dinavia the happy thought came that 
I might take a moving picture camera 
witli me. This proved little less than 
inspiration, for the opportunities to 
use such an instrument were legion. 
Beginning with our entrance into the 
beautiful island-studded harbor of 
Bergen, built around the bases of the 
several mountains from which the 
city gets its name, we were met by a 
seaplane and I had the first oppor- 
tunity to try my hand at photograph- 
ing a plane in flight. Arriving at the 
quaint old city itself, which dates 
back to a time previous to the Han- 
seatic League, I discovered that many 
of the old buildings of that time were 
still standing and that a fine atmos- 
phere of antiquity pervaded the town. 

The lion and the lamb lie down 
together in Bergen. Here is a busy 
fish market, full of color and pho- 
tographers, but not, strange to note, 
of the cinematic variety. And not a 
step away a flower market calls, its 
"color" appeal more distinctly felt. 
Fish and flowers — side by side! But 
why not, after all? 

By Hugo J. Bartholomae 

Bergen is the starting point for 
most of the cruises north along the 
magnificent coast line to the North 
Cape. Nature has been prodigal 
with scenery along this coast and has 
endowed Norway with a beauty im- 


surpassed by any other country in the 
world. At every hamlet and in every 
fjord where the steamer calls the 
photographer will want to have his 
cine camera buzzing to film the de- 
barkation of the tourists by launch, 
the bustle of landing, the assigning 
of travelers to their respective car- 
riages drawn by sturdy little Nor- 
wegian ponies, and the always in- 
teresting sight of a long caravan 
starting its journey up some rugged, 
picturesque valley. In certain por- 
tions of Norway, notably the Tele- 
niarken District and Saetersdal, the 
peasants still wear the characteristic 
costume, and this is best seen on 
Sunday, when they are dressed for 
church. They are most obliging about 
posing, very ingenuous and not at all 
movie-conscious, entering into the 
spirit of the thing with a fine, 
friendly generosity that is typical of 
the nation. 

As the steamer proceeds along the 
coast the opportunities for photo- 
graphing bird life are almost always 
present, but the great chance comes 
when the vessel puts in at Bird Rock 
at a time previously announced. Then 
the ship's company fires a bomb 
against the rocky face of the cliff, 
and literally thousands of birds take 
wing and circle, screaming, overhead. 
Among them will be gannets, gulls, 
terns, puffins, eider ducks, cormo- 
rants and others beyond my ornith- 
ological knowledge, and many of 
them distinguishable in the films. 

At the North Cape itself the de- 
barkation and beginning of the climb 

FEBRft/mRH i«»:s<> 

again inspire the photographer to 
employ his art. In the neighbor- 
hood of the Nortli Cape on Magero 
Island there is a large settlement of 
Lapps with an extensive herd of rein- 
deer. They are excellent subjects foi 
cinematography. On the day I vis- 
ited the encampment an old Lapp 
attempted to bring in two of the rein- 
deer on rawhide thongs, but they had 
a different idea, and a very interest- 
ing struggle ensued. One of the 
reindeer broke away, plunged into a 
small lake and swam across. The 
Lapp was successful in bringing only 
one up to be examined by the trav- 
elers from the ship. I made 200 feet 
of excellent film of this incident, 
which afforded me no small satisfac- 
tion on my return home. 

On the return voyage from the 
North Cape, tourist steamers call at 
many of the cities and villages in 
the several fjords. Each is distinc- 
tive and individual and each has its 
wealth of historic legend and folk 
lore. After returning to Bergen there 
is an interior trip to be taken through 
the Telemarken Valley or the Saet- 
ersdal, with many opportunities af- 
forded of photographing curious 
methods of making hay and the 
quaint country houses. 

Crossing into Sweden, the charac- 
ter of the country changes com- 
pletely. From the rugged, towering 
mountains, the scenery takes on the 
aspect of rolling farm land — a smil- 
ing, contented country. Sweden has 
a rich, historic past. The Swedes 
have influenced the history of the 
world since times pre-historic. From 
relics discovered in southern Sweden, 
which correspond to present-day 
household utensils, it is argued that 
tliey have occupied their present geo- 
graphic position for upward of .5.000 

Of course, in such a country one 
would expect quaint customs and cos- 
tumes. And one is not disappointed. 
In the district known as Dalecarlia. 
16th century costumes are still worn 
on Sundays. To stand outside the 
church at Rattvik on the shores of 
Siljansee on a Sunday morning and 
watch the people going to church, 
one might well believe himself back 
in the middle ages. An equally 
picturesque and no less interesting 
church-parade goes on at Leksand, 
where the costumes, though slightly 
different, are quite as colorful as 
those at Rattvik. But if one be a 
student of costumes and folkways he 
should not neglect the open-air mu- 
seum called Skansen. on the Island 
of the Djiirgarden in Stockholm. 
Here the Government has re-erected 
every type of peasant house, from 
the earliest known hovels. Here, too, 
on three evenings a week, specially 

trained dancers, subsidized by the 
Government, give exhibitions of folk 
dancing in authentic costumes of all 
the rural districts. This, of course, is 
a veritable mine for the man with 
a movie camera. 

Stockholm itself offers many sub- 
jects for the amateur cinematog- 
rapher. It has been called the Venice 
of the North, and not without reason, 
for it is built on a group of islands 
and most of its heavy transport is, 
done by boats. The waterways are 
always busy, with all sorts of craft. 

Products of Norway's Summer Sun 

and a camera set up in one of the 
front rooms of the Grand Hotel as- 
sures many hundred feet of excellent 
film, interesting all the way through. 
Then there is the changing of the 
guard at the Royal Palace, which 
lakes place every day at 12 o'clock, 
i'lu' pulilic is permitted to stand on 

the terrace above the "Norrbro" 
(Northbridge I while the new guard 
comes marching over, and one may 
follow on into the court of the Pal- 
ace, where the military manoeuvers 
take place. 

Around Stockholm there are many 
delightful trips by boat or motor — 
to Gripsholm, the residence of the 
early kings, now a museum; to 
Skokloster. an ancient baronial cas- 
tle, now housing one of the most 
complete collections of small fire- 
arms in all Europe. Also a day or 
two spent in the old university town 
of Upsala will cause the devotee to 
expend many feet of film, over which 
he will gloat after returning home. 

I also recommend that travelers 
visiting Sweden take the canal trip 
between Stockholm and Gothenburg, 
in either direction. It occupies but 
three days and crosses the entire 
nation. It has been said that "he 
who has crossed the country on the 
Gota Canal has seen Sweden." This 
remarkable engineering project was 
begun in 1716; it was completed in 
1833 but is still being improved. 
The trip covers 240 miles, sixty of 
which are actual canal. It crosses 
all of Sweden, including the two 
large lakes Vattern and Vanern, the 
latter the largest lake in Europe but 
one — the mighty Ladoga. The steamer 
passes through seventy-five locks and 
at the highest point is 300 feet above 
the sea. This top of the grade is 
Lake Viken. The Gota Canal was 
originally planned to escape paying 
toll to the Danes, who held the sea 
control of the Cattegat and levied a 
tax on all ships passing through it. 

Almost all trips to Scandinavia 
lead ultimately to Copenhagen. This 
fine city is always a delight to the 
traveler. Its distinctive architecture 
differs from that of Norway and 
Sweden, and the life and manners of 
the people are quite different. Co- 
penhagen is a cosmopolitan, sophisti- 
cated town, with much of its charm 
lying in the treasures contained in its 
museums and shops. But there are 
many fine parks, and for the alert 
amateur, with his faithful camera al- 
ways at hand, there are many oppor- 
tunities for picturization. especially 
along the canals and the waterfront. 

I found Scandinavia so interesting 
and so replete with subjects for 
photography that when I reached the 
continent I seemed to lack interest in 
filming what I found there. For 
those who are seeking new territory, 
where the swarming tourists have not 
robbed the country of its native 
charm. I commend picturesque, clean, 
unspoiled Scandinavia. But by all 
means take a moving picture camera 
with you. 

.'« M ■: R S 


The Secrets of "Making Big Ones Out of Little Ones" 

By Herbert C. McKay, A. R. P. S. 

PRACTICALLY every serious 
amateur cinematographer has a 
telephoto lens in his equipment. 
These lenses are indispensable in or- 
dinary work but their usefulness does 
not end there. They may be used in 
one of the most fascinating branches 
of amateur motion picture activity, 
the photography of objects so small 
that they cannot be recorded in the 
usual manner. This 
work is quite easy, pre- 
senting no greater dif- 
ficulty than ordinary 

It is well known thai 
the nearer an object is 
to the camera thr 
greater must be the dis- 
tance between the lens 
and the film. In ordin- 
ary telephotography we 
find that lenses are, as 
a rule, calibrated for 
ten to fifteen feet as the 
nearest distance. This 
is made necessary due 
to the long focus of the 
lens involved. As the 
six inch lens is the most 
common, we will con- 
sider it in tlie present 
article. The six inch 
lens will give a film im- 
age just six times as 
large as could be se- 
cured with a one inch lens, it being 
taken for granted that the distance 
from the lens to the object is the same 
in both cases. We also know that the 
six inch lens will give as great an 
image at a distance of sixty feet as 
could be secured with the one inch 
lens at a distance of ten feet. There- 
fore, if we can focus a six inch lens 
upon an object about eighteen inches 
from the camera we will secure an 
image whose size is the same as that 
produced by a one inch lens at a dis- 
tance of three inches. While the one 
inch lens could be adapted for focus- 
ing at this distance the lens would 
undoubtedly cast a shadow upon the 
subject. The short working distance 
has many other obvious disadvan- 
tages. Therefore we find the lens of 
six inch focus is far simpler to use for 
this type of work than the standard 
one inch lens. 

The six inch lens is designed lo be 
focused on objects not closer than ten 
feet. For that reason, provision of 
some kind is necessary to accommo- 
date the extension required in focusing 

upon an object only eighteen inches 
or three focal lengths away. Fortu- 
nately lenses already adapted for this 
specialized work are available. 

Not long ago one lens manufac- 
turer produced a device by means of 
which a lens may be focused visually 
when mounted on a motion picture 



camera. It is known as the reflex 
focusing device, consisting of a short 
barrel which contains a movable 
prism. The lens is designed to screw 
into this mechanism and it in turn 
into the camera. Thus, it is obvious 
that a portion of the lens barrel equal 
in length to the barrel of the device 
must be removed in order to retain 
the lens adjustment. The lenses made 
by the manufacturers of this device 
are equipped with a removable por- 
tion the same length as the barrel of 
the focusing device. Therefore if we 
mount one of these lenses on this de- 
vice, but without removing the por- 
tion of the barrel designed for this 
adjustment, it is evident that we in- 
crease the lens extension by the length 
of this portion. As these adjustable 
collars are obtainable in various 
lengths it is possible by using an as- 
sortment of two or three to secure any 
desired length extension. Naturally, 
when using these abnormal exten- 
sions, the focusing scale of the lens is 
no longer accurate. Therefore it is 
necessary to use the reflex focusing 

device mentioned, which, with the re- 
movable extensions, constitutes the 
only additional equipment necessary 
for work of the highest class. 

If we intend to focus upon an ob- 
ject eighteen inches from the lens, or 
three focal lengths, when using a six 
inch lens we must increase the lens 
extension by one third, that is, from 
six to eight inches. We must there- 
fore add two additional 
inches to the lens bar- 
rel. The focusing ad- 
justment of the lens it- 
self provides the neces- 
sary final adjustment 
of the focus. 

In considering this 
type of work, let us take 
as an example an or- 
dinary ant hill such as 
may be found in any 
park or drive. This is 
I Hit only an accessible 
subject but also one of 
extreme interest. Fifty 
or sixty feet of film de- 
voted to it will make 
one of the most fascin- 
I ating films imaginable. 
Assuming that the 
camera is mounted on 
by Bell & Houcii an adjustable tripod 
and that this tripod has 
been placed near the 
ant hill in question, we 
are ready to proceed with actual ex- 
posure. The lens is directed toward 
the subject. It may be said at this 
place that, as the added extension of 
the lens increases the strain imposed 
upon the camera and, since we are 
making a film at such an extreme de- 
gree of magnification, the danger of 
an unsteady film is increased. The 
actual lens motion will be greater due 
to the extension and the screen effect 
of this motion will be more apparent 
as a result of the extreme magnifica- 
tion. Some sort of lens support is 
therefore advisable. Supports of this 
kind are now available which may be 
placed any desired distance up to ap- 
proximately one foot from the front 
of the camera. The use of such a lens 
support will add greatly to the qual- 
ity of all pictures made by the pro- 
cess here described. 

When the lens has been trained up- 
on the subject, looking into the reflex 
focusing device, the focusing jacket 
of the lens mount is turned until a 
critical focus is secured. Due to the 
close working distance there will be 

FEHRI.'/miC'* 1929 

little depth of focus and it is quite 
probable that some of the higher and 
lower portions of the field will not be 
sharply defined. In this case focus 
sharply upon that portion of the field 
which contains the subject of princi- 
ple interest and let the rest of the field 
take care of itself. When the focus 
has been secured be sure to remove 
the focusing prism from the field of 
view as otherwise no impression will 
be made upon the film. 

The exposure in work of this na- 
ture is determined in the usual man- 
ner. Undoubtedly the best results are 
secured through the use of some re- 
liable type of photometric exposure 
meter. The meter readings will not 
be entirely correct for the subject in- 
volved, however, due to the fact that 
with extreme extension the calibration 
of the lens will not be correct. When 
the reading has been made the lens 
diaphram is set to one stop larger 
than that indicated. This is a slight 
over correction but is near enough for 
practical purposes. For example, if 
the meter indicates a diaphram of / 
8 we will set our iris ring at the point 
marked 5.6. When this has been done 
the exposure is made in the usual 

This branch of closeup telephoto- 
graphy in itself will furnish film of 
great interest but does not exhaust its 
possibilities. Every amateur who has 
tried to make a miniature or model is 
well acquainted with the fact that, 
regardless of the fidelity with which 
the miniature repro- 
duces the original, it 
seldom deceives those' 
who see screen repre- 
sentation. This in itself 
has long been a serious 
problem to the ama- 
teur, yet the remedy is 
quite simple. The fact 
that the miniature does 
not resemble the orig- 
inal is due to its rate of 
motion. Professional 
motion picture photog- 
raphers say that a very 
crude miniature will 
pass muster on the 
screen provided it is 
photographed w i t h 
slow motion. The slow 
rate of speed in itself 
brings about an appear- 
ance of size. This is ap- 
plicable to the work 
now under discussion. Our principle 
purpose in closeup telephotography 
is to secure a greatly enlarged image 
of the subject. If we photograph this 
at normal speed we find that our film, 
while unusually interesting, still ap- 
pears to be just what it is, an en- 
larged film of a small subject. If, on 
the contrary, we photograph the sub- 
ject at a high rate of speed, securing 


in this manner an ordinary slow mo- 
tion film, we find that our screen 
shows us a film not of a small subject 
greatly magnified but of a gigantic 
reproduction of the original. Instead 

Tiny Larva Becomes a Screen Munsi 
Through the Tclephoie. 

of our ants appearing to be magnified 
from the original they appear to be 
monsters a foot or two long. It is 
strange but true that the greater the 
speed used in making the exposure 
the larger the size of the insect will 
appear. This is a fact which may be 

The Camera, Tripod, Telcphote, Support and Rellcx Focu,in- IVa 
Formidable but Effective Ensemble. 

used to a very great advantage in a 
number of amateur films, and one 
which is not limited to the photog- 
raphy of subjects of the natural his- 
tory type. 

Nevertheless, the greatest field for 
this type of work lies in the photogra- 
phy of insect life, though it may be 
used in producing other scientific and 
entertainment films. Such a method 

of procedure is applicable to any 
subject which in actual life has a 
length between one eighth of an inch 
and two inches. This apparently lim- 
its the usefulness of such work se- 
verely, but not so actually, as we shall 
see. Many scientists have devoted their 
entire lives to the study of a single 
family of insects and have failed to 
cover the ground thoroughly. This 
shows us that in this field alone we 
have an inexhaustible amount of sub- 
ject material. The same procedure 
can be adapted to the photography 
of a minute mechanism such as that 
of a small watch. It may also be used 
in the photography of certain actions 
wliich lie on the border between the 
microscopic and the macroscopic. 
Subjects of this nature include some 
crystallization phenomena. The same 
procedure will be valuable in photo- 
graphing certain effects, such as a 
portion of the body, desired in dra- 
matic productions. A shot may be 
made showing only one eye of an ac- 
tor, a scar upon a finger tip. some kind 
of distinguishing mark of small size 
upon a piece of jewelry and so forth. 
This process enables us to secure an 
image upon the usual thirty by forty 
inch screen approximately twenty 
times natural size. The exact magni- 
fication will, of course, depend upon 
the focal length of the lens used and 
the distance of the camera from the 
subject. It is assumed that the projec- 
tion will fill the thirty by forty inch 
screen. As this is equivalent to a mag- 
nification of the nega- 
tive image which will 
amount to practical- 
ly one hundred diam- 
eters it follows that for 
the production of a 
screen image fifty times 
natural life our nega- 
tive image will be half 
natural size. Consider- 
iijiij ; ing the specific case in 

iniM I hand in which we have 
jW| i the six inch lens fo- 

cused upon an ob- 
ject at a distance of 
eighteen inches we find 
by use of ordinary for- 
mula for the determin- 
ation of conjugate foci 
that the negative image 
will be one-half natural 
size. This means that 

Make a • • Cr 

our screen image is tit- 
ty times life size. It is 
thus seen that a wide variation in 
masnification may be secured. 

This work, being extremely simple, 
provides an infinite increase in mo- 
tion picture possibilities and opens up 
a field which will no doubt add 
greatly to the interest shown by the 
amateurs in sixteen millimeter motion 
picture photography. 

IM O '%' 1 E 

1 ;% BlL K R S 


An Authoritative Discussion of the Amateur Actor's Greatest 'Problem 

ACTION," in fiction or in the 
drama and therefore also in 
the photoplay, is by no means 
synonymous with "movement," and 
it is often positively prevented by 
"motion" in which various parts of 
the body, or the whole body, may be 
distracting the spectator's attention 
from the progress of the emotions. 
Sometimes action is expressed in 
broad and rapid movement, as in an 
aeroplane or automobile chase; far 
more often it is expressed by means 
of very deliberate and slow gestures, 
which indicate a progression in the 

If the worst fault in amateur (and 
often in professional ) motion picture 
production were to be summed up in 
two words, it would be that the physi- 
cal motion is too fast. No actor who 
has not learned to act slowly is 
worth anything in a production. The 
average amateur, and even the one 
with amateur dramatic experience, is 
likely to mistake speed for pep and to 
ruin every scene in which he appears. 
The director who handles untrained 
artists must learn to say a thousand 
times a day. "Slowly — SLOWLY — 
S-L-0-W-L-Y!" Perhaps not so much 
in entrances and exits as in the 
minor motions of the face and hands 
on which the understanding of the ac- 
tion depends. 

Take a simple example: the script 
calls for a short scene in which the 
artist is to pick up a box of matches, 
look at it and put it down again. The 
amateur will do it all in four or five 
seconds — just as the script reads and 
just as he would do it in real life. 
But somehow the motion — and in a 
moment we shall see why — will be 
lost to the audience. The professional 
will I often unknown to himself) do 
it this way, allowing as much time 
as it takes to speak clearly and slow- 
ly each of the words given : 

\. (Body motionless) . Head turns 
slowly to one side, gaze rests in the 
direction of the matchbox. Count 

2. (Body and head motionless.) 
Artist raises one and only one hand, 
extends it toward the box, puts his 
hand on the box. Count one-two. 

3. Hand (everything else being mo- 
tionless) raises the box S-L-0-W-L-Y 
toward the eyes. About one foot from 
the eye. hand stops. Count one-two- 

4. (Hand motionless with box in 
it.) Head turns slowly away, in di- 
rection of camera but without looking 
at it. Rejrister the desired thought 

By Paul D. Hugon 

Late Director for Pathe, Paramount, 

etc. Chief Editor at Universal 

City, etc. 


about the matches. Count one-two- 

5. (Head motionless, face holding 
the expression.) Hand puts down 
matchbox again, either resting on it 
at end of the motion or dropping it 
very rapidly if that is the desired 

Now, how long did that take? Prob- 
ably not less than twenty-five seconds. 
For if it means anything at all in the 
scenario it means a great deal, and 
should be featured. It should "reg- 
ister." What is not worth register- 
ing is not worth filming at all. A 
story is not improved, but spoiled, 
by the inclusion of details that are 
not vital, for it is one of the rules 
of both fiction and the drama that 
every single action must be signifi- 
cant and must advance the plot. Omit- 
ting all that is of no great conse- 
quence, and acting at length what is 
of consequence is the short cut to 
good drama. 

But why, you may ask, is it neces- 
sary to do all these things so much 
more slowly than in real life? Sim- 
plv because the camera has only one 

eye, and you have two. Your two 
eyes are not merely twice one eye. 
One eye perceives two dimensions — - 
heighth and width — but two eyes per- 
ceive three dimensions; heighth width 
and depth, the latter being synony- 
mous with distance. Once your brain, 
after an infinity of minor adjust- 
ments, has become accustomed to a 
three-dimensional world, you can 
imagine a third dimension even when 
you do not see it. You view a pic- 
ture on the screen, and you translate 
the reduced size of distant objects 
into correct perspective, such as you 
are accustomed to seeing with your 
two eyes. But you do not see depth 
on the screen, because there is not 

To realize the utmost importance 
of this simple fact in the practice of 
cinematography, try first one or two 
little stunts. Lie down on a bed or 
couch; cover yourself with a sheet or 
blanket, so that it almost touches your 
nose. Then look at it alternately with 
each eye. \ ou will have two entirely 
different pictures of the same sheet 
or blanket, one with the right eye and 
one with the left eye. The two eyes 
do not see the same thing; and the 
nearer the object, the more noticeable 
the difference is. 

Now close both eyes and stand not 
far from a window ledge. Open one 
eye only and make a quick movement 
to reach the ledge. The probability 
is that your hand will reach short of 
it. But with both eyes open your 
judgment of distance is correct, and 
you have no difficulty in reaching the 
ledge without fumbling. 

Each eye, then, has a slightly dif- 
ferent view of the same object; and 
the two views, superimposed in the 
brain, result in that sense of depth 
or third dimension on which our eval- 
uation of distances and solidity de- 

During the Great War it was cus- 
tomary to cover up ammunition 
dumps with sheets of canvas painted 
to represent such scenery as the sur- 
rounding territory offered. Aero- 
planes flying over the camouflage 
could not detect the trickery — until 
the flyers devised a stunt based on 
the two-eye. or stereoscopic vision, 
theory. They took two successive pic- 
tures at intervals of about 100 feet. 
Placing those pictures in a giant ster- 
eoscope, they viewed them as they 
would appear to human eyes only a 
few feet away. If the scenery so 
viewed was flat to both eyes, it was 
{Continued on page 1161 

FEBRI «R-ft 1929 


A Great Newspaper Finds Amateur Movies a Business Asset 

FOR centuries the printing press 
has been the greatest moulder of 
public opinion. Of recent years 
the motion picture has been hailed as 
a new medium with similar powers. 
It is therefore interesting and signifi- 
cant to find one of the nation's great 
newspapers employing 16 mm. mo- 
tion pictures as a means of increasing 
its strength with the public. This no- 
vel use of the camera has been dem- 
onstrated an unqualified success, ac- 
cording to R. K. Winans, Circulation 
Director of the Springfield Union, 
Springfield, Mass. 

Mr. Winans, Amateur Cinema 
League member and Movie Makers 
devotee, first became interested in the 
amateur camera as a personal hobby. 
Due to his enthusiasm the Union was 
persuaded to introduce the first ama- 
teur motion picture department in any 
American newspaper, which immedi- 
ately became a popular feature of this 
journal. Together with other Spring- 
field enthusiasts Mr. Winans also or- 
ganized an amateur movie club. The 
Union thus became the center for 
amateur cinematographic activities in 
Western Massachusetts and the inclu- 
sion of films in its own promotion 
work logically followed. 

A good will program has now been 
worked out by the Union in coopera- 
tion with P. T. A's, clubs and churches 
of the district. Mr. Winans projects 
pictures, both his own and rental 
library selections, for the benefits 
given by these associations. In every 
instance a substantial sum has been 
realized for their funds, desire has 
been expressed by other organizations 
for similar showings, interest in ama- 
teur movies has been cultivated in new- 
fields and good will and friendliness 
have resulted for the Union. Since it 
was thus doing its utmost to render 

public service it was quite natural 
that the Union s circle of readers be- 
came widened, with a corresponding 
increase in the newspaper's strength 
as an advertising medium. 

■ of The Sprmg^eU Union'; 

Perhaps the most unusual feature of 
the Union s program has been the ac- 
tual production of special films. One 
of these is a record of its yearly Mar- 
ble Tournament, titled Kings of the 
Ring, a four reel feature made for the 
purpose of creating interest among 
boys in the tournament. The first film, 
made for this purpose in 1925, was on 
35 mm. stock. However, in the pro- 
duction of Kings of the Ring in 1927, 
16 mm. was adopted, since projector 
facilities are more widely available 
for narrow width film. Last season 
this marble contest was conducted in 
a territory covering twenty-five cities 
and towns in Western Massachusetts 
and enrolled over 15.000 boys in the 
competition. It has become the big- 

gest juvenile sporting event of the 
year and eclipses tops, baseball and 
other games until it is completed. 
Three of the Union s champions have 
become runners-up to the champion 
of the National Marble Tournaments 
in Atlantic City, and in 1925. Howard 
"Dutch" Robbins of Springfield, be- 
came national champion and, inci- 
dentally, one of the most famous boys 
in the world. 

These tournament films have been 
exhibited throughout the territory in- 
cluded in the competition and have 
registered marked approval by audi- 
ences everywhere. By their use the 
tournament has increased its enroll- 
ment to a greater degree than had 
been found possible by any means 
previously employed. 

In compiling last year's film, Mr. 
Winans shot over 1.500 feet of action 
in the Union tournament alone, sev- 
eral reels of the champion's sightsee- 
ing trip to New York, Valley Forge 
and Philadelphia, and others of the 
National Marble Tournament in At- 
lantic City. Of the several thousand 
feet taken less than one hundred feet 
were photographically impossible for 
use. The finished product is in four 
400 foot 16 mm. reels and gives a 
complete and comprehensive story of 
this epic of boydom. This year it is 
expected to be a still greater inspira- 
tion to the boys in their efforts to win 
the championship. 

This film is now serviced by the ren- 
tal library of a Springfield dealer and 
is available free for exhibition. This 
Spring it is to be used in an extensive 
drive for entries in the tournament 
and will be shown continuously for 
two months previous to the runner-up 

The Union s latest film project, un- 
(Contiiiued on page 119) 

One of the Picturesque Ceremonies Recorded In a Union Feature Film. 

!•■ /% ■« C R «» 


Second of a Series of Practical Diagrams 
By Walter Martin 

Figure 5 is a consideration of the vertical line, which denotes power, grandeur, solemnity and sevi 
gives a feeling of power and grandeur through the prominence of vertical lines. Example b shows the con 

Figure 6 illustrates the use of the horizontal line, used to typify quietude, repose, calm and solemnity. Exampl. 
calmness in a tropical river scene. Example b is another landscape which naturally falls into this compositional form. 

Figure 7 deals with the triangle, which is emblematic of physical stability and climax. Example a utilises this design with except: 
gestion of both. Example b is a familiar study emphasizing stability. 

Figure 8 shows the use of the triangle on the perspective plane, with two varied examples, a and b. 

a pictorial composition. Example 
of the vertical line principle in 

hows quietude and 
,1 SUg' 

■nEB»MJ;%IKY 19:29 

How to Enliven Your Films 

By Epes W. Sargent 

OF course yours aren't like that, 
but did you ever go to see 
some fellow craftsman's string 
of pictures and come away wondering 
why in thunder he ever supposed that 
stuff could be interesting? If you 
know three other camera workers, the 
chances are that you have had that 
experience at least twice, and prob- 
ably three times. And do you know 
it's just barely possible that the other 
fellows are foolish enough to feel the 
same way about your work? 

Only the other day we had the 
doubtful pleasure of looking over the 
first fruits of a recent addition to 
amateur ranks. Before he started the 
projector he explained almost apol- 
ogetically that it was "mostly Vera 
and Nellie". This prepared us for 
the worst and enabled us to get a good 
grip on the arms of our chair and our 
patience. We needed both precau- 

"Vera" is his wife and "Nellie" her 
best friend. They are inseparable on 
and off the screen and they got about 
180 of the first 200 feet. 

There were ten feet of Vera and 
Nellie standing beside a bush and ten 
feet of the twin stars twinkling on the 
front steps. They got only eight feet 
on the back porch, but they took a 
generous fifteen feet to stand with 
their backs to the camera and point at 
the spire of a nearby church. Billy 
proudly pointed out that you could 
see the hands on the tower clock, 
though the church was more than a 

block away. We were thrilled. 

It seemed to take them about nine 
reels to come down the walk from 
the house to the front gate, though it 
really only took about twenty feet. 
We could not have been more fed up 
on any two women if they had been 
suing us for breach of promise. To 
make it worse, the film was run off 
just as it came back from the factory. 

"There's no use putting in titles," 
explained the proud artist. "I can 
tell people what they are. " 

We could have told him what his 
pictures were, too, but we were too 
polite. Maybe, though, we'll get up 
the courage to send him a marked 
copy of this issue. It might be safer, 
however, to send it unmarked and 
with a subscription blank. Then he 
might think it just a sample copy. 

The mere possession of a camera 
gives you no license to bore people. 
Yet, "your best friends won't tell 
you." so here goes. It is very easy to 
make your reels interesting and attrac- 
tive and simply cruelty to the neigh- 
bors not to do so. Of course it is all 
interesting enough to you, but others 
may not share your keen delight. If 
you only realize this, perhaps you'll 
go to the trouble, the very little trou- 
ble, of making your offerings desir- 
able. You will be well repaid by the 
greater sincerity of the praise. 

Next time you go to a movie show 
give a critical eye to the newsreel. 

You'll find that there is almost certain 
to be a shot of a litter of puppies, a 
brood of baby chicks, a human baby 
or something like that. This isn't be- 
cause the United States and the rest 
of the world cannot supply sufficient 
news material for 2,000 feet of release 
each week. Any newsreel editor 
throws away a mile or so of good stuff 
each week and slips in: "Winsted, 
Conn. This hardworking mother does 
not believe in race suicide" as a pre- 
amble to a fuzzy Angora and six 
fuzzier kittens. To get in that happy 
family the editor may have clipped 
five feet off the news sensation of the 
week, three more from a train wreck, 
and so on until he gained the space. 
He knows the need for comedy, or he 
would not be a newsreel editor. He 
responds to the demand for a little 
laugh just as the newspaper editor 
tucks in a few comic strips and the 
man who writes patent medicine al- 
manacs pads out with a few clippings 
from Joe Miller's famous book of 

Unless you give your films a little 
comedy relief, the time will come 
when your best friends will cross the 
street to escape an invitation to come 
over and see your latest shots. Take 
a page from the newsreel book of ex- 
perience. Put in a little human ap- 
peal here and there and you'll not 
have to rope and tie your audiences. 

This doesn't mean that you must 
overdo it. It does not mean that you 
need to lose much footage. Just give 

M O 'W ■ E 

/% ■« E R S 

a smile here and there, with a chuckle 
now and then and, above all, don't 
make your humor too obvious. You 
needn't throw custard pies and get 
seltzer siphons by the case. Instead, 
merely slip in an occasional laugh. 

We saw a reel made in the zoo that 
was not merely of a bunch of animals. 
There were the elephant and the 
hippo, and that animal with the three 
letter name meaning African antelope, 
and a really good shot of a bull buf- 
falo, then a flash of a signboard with 
the familiar, "I'd walk a mile for a 
camel", followed by the camel him- 
self. Three clips more and a subtitle, 
"He doesn't belong, he's just a 
visitor", to introduce a fuzzy puppy, 
perched outside a den, turning his 
head from side to side, apparently 
absorbed in a pair of zebra. That 
squared it for three more shots and 
the end of the reel. The animal reel 
alone would have been tiresome but 
the touch of humor saved it beauti- 

Another cinemaker got a splendid 
shot of guard relief at Buckingham 
Palace. It was the prize shot of his 
summer in Europe, one of the crack 
regiments, or rather a detachment, 
coming through the palace gates on 
its way to barracks and a rest-up from 
the rigid immobility of sentry-go. It 
was a really fine shot, but it ran forty 

He had the good sense to realize 
that it would bore his friends, and yet 
the amputation of even an inch would 
have hurt him as much as the loss of 
his finger. He was a regular Von 
Stroheim. He made a lath sword and 
fabricated a cocked hat from a news- 
paper. Then he taught his seven-year- 
old son how to hold the sword and 
handle his feet in imitation of the 
precise army tread, backed the young- 
ster with a dozen of the neighborhood 
children and marched them out of his 
own front gate. Five feet of this 
changed a forty into two twenties, and 
the sub-title, "There are others", 
helped the laugh along. It saved the 
footage and is one of his most popu- 
lar shots. 

Sometimes it takes a little more 
planning. A high school boy was out 
on a shooting trip in the country with 
three friends and a collegiate flivver. 
He was getting some splendid pictures 
of a famous valley, but he wanted a 
good finish. They came to a railroad 
crossing and he had an idea. He took 
a shot of the flivver with the three 
boys rattling down the country road. 
It stalled on the tracks. They jumped 
out and looked up and down. Now 
the camera shot up the track to show 
a distant train. Back at the crossing 
the two boys worked frantically at the 
hood while the third waved a signal 
at the oncoming train. Once more the 
camera shot up the track for a flash 
of the rapidly approaching express, 
and then came back to the boys. Sud- 
denly they jumped into the car and 
it started on its asthmatic way. Just 
as it cleared the track, the camera 
picked up the train, and this time fol- 
lowed it down and past the boys, 
safely out of danger. It must then be 
admitted that they thumbed their 
noses at the observation car. 

This wasn't very polite comedy, 
perhaps, but in contrast to the appar- 
ent danger, it gave a decided kick to 
the sensation. It brought a straight 
scenic reel to a dramatic-comedy fin- 
ish that made people ask to see it 
again. There was a half hour interval 
between the stalling on the tracks and 
the passing of the train, but no one 
knew that. The only time the train 
was photographed with the car was 
the final shot as it swept past. 

But if you try this be familiar with 
the time tables. Last summer we came 
upon a cinemaker perched on the 
loading platform which serves as the 
railroad station where our week-end 
farm is located. Noting the camera 

we stopped to chat. The visitor ex- 
plained that he was waiting for a train 
to come along to give life to a shot of 
Shooleys Mountain. It was a good 
idea, but he was on a branch line and 
the next freight was not due for an- 
other five hours. He decided not to 

Comedy can be found or made al- 
most anywhere. One enthusiast, out 
on a hike, spied a huge hornets' nest. 
In the offing was a small boy. 
"Sonny," he coaxed, "do you suppose 
you could plug a stone through that 

"Yeh," was the unenthusiastic re- 
sponse, "but they would chase me." 

"How fast can you run for half a 
dollar?" countered the budding Mack 
Sennett. The argument was efi"ective 
and, with a telephoto lens to make it 
safer, the result was a picture that 
never fails to bring a laugh. He is 
planning to make a new version next 
summer, and this time will get the kid 
to dive into a brook to shake off the 
supposed tormentors. 

Another "sure fire" was a small boy 
up an apple tree with a fierce looking 
dog patiently camped at the foot, 
waiting for the kid to come down. By 
softly speaking to the dog, the boy 
kept him looking alertly into the 
branches, but he was careful not to 
arouse the dog to the point of tail- 
wagging, so no one ever guesses that 
the boy was the dog's master. It 
looked to be the result of a happy ac- 
cident, but it really took half an hour 
to stage. 

A group of boys in the old swim- 
ming hole made a fine reel. There 
was good lighting on the water 
through the overhanging branches. It 
really was an art study, but, neverthe- 
less, it was just a shot without begin- 
ning or end until the cinemaker had 
an inspiration. The reel now ends 
with one of the boys coming down the 
road in a skirt of branches. In one 
hand he holds his complete wardrobe 
of trousers and shirt, the arms and 
legs tightly knotted. The single word 
of the sub-title. "Chawed", conveys 
iContiniu'd iin page 1221 

FE^ISI.^R'* 1929 


18Q4— 1«)2«) 

It was just thirty five years 
ago on February -ith. 1894. 
that the first motion picture 
was projected on a screen. 
On that day the motion pic- 
ture theatre u-as really horn. 
On that day the eventual 
possession of an amateur 
motion picture equipment 
by every home in the United 
States was forecast. The 
man who achieved this mir- 
acle, which Edison was said 
to haz'e declared impossible, 
was Jean A . LeRoy. 

But this anniversary is not 
a happy one for that pioneer. 
From ' the epochal day in 
Riley's Optical .Shop on 
Beekman Street. Sew York, 
when he first rei'ealed to the 
world his "Marvelous Cine- 

]L.\S A. LE ROY 

matographe" he has reaped 
nothing personally. Failing, 
until too late, to protect his 
invention with patents, he 
has for thirty-five years 
watched his basic methods 
employed in the projectors 
which have made millions 
for others. Today he lies in 
his bed slowly coni'alescing 
from a recent paralytic 

MoNiE Makers and a host 
of other friends of this "old 
soldier of the movies" wish 
him a speedy recovery. We 
ore honored in joining with 
them in hailing him on this 
anniversary. May he have 
happier years ahead of him, 
and may the great industry 
which owes so much to him 
fittingly recognize its debt! 


IN motion pictures, as in still work, 
it is essential to expose for the 
shadows in the subject being pho- 
tographed. It is also true that with a 
change in the position of the light 
source the exposure should be 
changed. A good plan to follow is to 
double the exposure when working 
at right angles to the light source and 
to increase the exposure four times 
when working against the light. Here 
are given ten brief rules to bear in 
mind when considering the exposure 
problem : 

Generally speaking, there is no one, 
fixed "correct"' exposure for every 
scene photographed. The exposure is 
governed to a certain extent by the re- 
sults desired. 

Experience is the best guide for 
good exposure. Study light condi- 
tions, even when your camera is 
tucked awav safelv at home. If vou 
have an exposure meter ( you should 
have one if you have a camera \ carry 
it with you always. First calculate the 
exposure with vour eve and tlien check 

source, whether in back of the lens, at 
right angles to it or in front of it: re- 
flective qualitv of the values in the 
subject whether white, gray, black or 
color; distance of object photo- 
graphed, whether closeup. medium or 
long shot: the time of dav in exterior 
work: type of emulsion used, whether 
ordinary or panchromatic, reversible 
or negative film. 

up with tlie meter. A few weeks" prac- 
tice in this manner will do wonders 
for you. 

The following factors should be 
taken into consideration when calcu- 
lating the exposure for a scene: 
strength of light source, whether in- 
tense, bright, or dull: position of light 

Don't let the preceding paragraph 
scare you! After a little experience, 
recognition of these factors will be 
taken care of sub-consciously. 

Classify your subjects, according to 
distance, into: long shots, medium 
shots and close-ups. Subjects in each 
of these groups take the same general 
exposure, all other factors being con- 

Dont over-expose reversible film. 
Over-exposure with this type of film 
gives a weak, washed-out screen pic- 

Vi hen using negative film, and vou 
are in doubt about the exposure, al- 
ways over-expose. 

Do not forget that the different 
makes of amateur cameras have dif- 
ferent shutter speeds, as follows: Fil- 
mo. one twentv-seventh of a second: 
Cine-Kodak, one thirtv-second of a 
second: De\ rv Automatic, one forty- 
eighth of a second : \ ictor. one twen- 
ty-eighth of a second. This must be 
recalled when calculating exposure. 

Increase the exposure when using 
filters. The, deeper the color of the 
filter, the more the exposure. 

The red \ filter calls for an in- 
crease in exposure of from eight to 
fourteen times when panchromatic 
film is used. 

Choosing Lenses 

MANY questions have come to this 
department lately concerning 
the tvpe and number of lenses an ama- 
teur should have in a well equipped 
lens kit. ViTiile this is a diflBcuIt ques- 
tion to answer in a general way, be- 
cause often what is one man's meat is 
another's poison, certain suggestions 
can be given that should help in choos- 
ing the necessary lenses. 

The writer is fixed firmly in the be- 
lief that everv amateur should have a 
one inch. / 3.5 lens for all around 
work. This lens includes an angle of 
twents- seven or t^ventv eight degrees 
on 16 mm. film, which is about the 
same angle of view as the eye s. This 
lens is fast enough for all ordinary 
purposes and can be stopped down to 

-he d'd^t I^TlOyv 


/ 16, which is not possible with all 
other lenses of different speeds. 

The / 1.5 lens, as well as the / 1.8, 
i 1.9. t 2 and / 2.. are very valuable, 
especiallv to the amateur, for. unlike 
the professional, the amateur cannot 
wait until the light is right to get his 
^Continued on page 120 1 

»■ O V I K »■ .« M I It •• 


Is History Art? 

IT has long been the opinion of 
this reviewer that Carlyle's 
"French Revolution" should, like 
quinine, moral philosophy and cock- 
tails, he taken in tabloid doses, here 
a little and there a little. This opin- 
ion is much reinforced after seeing 
S. M. Eisenstein's "Ten Days That 
Shook the World." 

Mr. Eisenstein, director of "Potem- 
kin" and one of the greatest of the 
modern Russian film makers, evi- 
dently likes his Carlyle in heroic 
quantities because he has produced 
in "Ten Days" a cinematic equiva- 
lent of the great sage of Chelsea's 
impressionistic critique of revolu- 
tion, although Eisenstein uses the 
Soviet rise to power as a theme in- 
stead of the earlier French parallel. 

This is done with an amazing un- 
derstanding of the possibilities of the 
motion picture as an independent art 
form. One could not ask for a more 
admirable use of cinematics. The 
audience cannot help being con- 
scious of a new type of art and of 
getting a most specific and definite 
reaction that is not to be confused 
with that to be had from watching 
any other artistic manifestation. For 
its technical excellence Mr. Eiseti- 
stein's film ranks among the great 
products of the cinema. 

"Ten Days" should serve, how- 
ever, as a warning to all future pro- 
ducers. History in the abstract is 
no more endurable in vast quanti- 

Reviews for the Cintelligenzia 


Destruction of this Statue of a Czar Repre- 

.«:nt5 the End of the Old RuMia in Ten Da>i 

thol Shool; the World. 

lies when it is presented through film 
than when it is presented through 
type on the printed page. It must be 
taken in relays. This new type of 
motion picture, this historical essay 
done abstractly and impressionist- 
ically has its audience steam-rolled 
after the first half-hour. \^'e de- 
cline to be concerned with which 
side of the revolution the Battalion 
of Death may be on or whether the 
interminable talk fest is pro-Soviel 
or contra. We have lost desire to 
keep the threads disentangled. The 
whole production is unenlivened 1)\ 

a single character who acquires any 
vital personality. Kerensky moves 
through it unexplained and uncon- 
vincing. Lenin looks like a nervous 
pants-presser who has lost a client's 
vest and is trying to locate it. His 
actions bear out this simile. Several 
other inexplicable persons kill or get 
killed. A mob of Carrie Nations 
wreck the Tsar's wine vaults, and 
nobody appears to get even mildly 
inebriated. Bridges are raised and 
lowered for the reason, probably, 
that one gets excellent camera angles 
from the process. It is so impres- 
sionistic that it is higgledy-pig- 
gledy. Yet enough titles are pres- 
ent to keep the audience orientated, 
if there is any reason for caring a 
soviet ruble's worth whether one is 
orientated or not. 

Mr. Eisenstein knows his tech- 
nique. If he can get a positive ob- 
session for abstractions under dra- 
matic control or he can endow these 
abstractions with some of the real 
warmth of human emotion he will 
be able eventually to produce films 
of qualitv equal to those of compe- 
tent American directors. His tech- 
nique is finished and unimpeachable. 
Let him get down to solid ground 
with his dramatics and we shall list 
him among the great. 

Pathe Review 

T TNDER the very intelligent guid- 
*-^ ance of Terry Ramsaye, the Pa- 
liie Review has become a veritable sur- 

(Conrinued on page 12.5 > 

FEBICUj!%IC'* 1929 

Pliologrjph by Uja 

From Variety 

THIRTY-TWO years ago a close- 
up inspired the following note 
in a newspaper: "This may 
capture the fancy of the lascivious, 
but it is actually repulsive to the 
clean of mind. I am sure that young 
ladies * » * and all careful parents 
must prefer not to have this scene 
produced any more." 

The young ladies in question had 
seen long shots of everything from 
prize fights to "passion dances" with- 
out shocking their maidenly modesty, 
when this first close-up of an inno- 
cent kiss started the movement for 
censorship. But the reformers were 
quicker to recognize power than the 
producers. It was not until almost 
twelve years later that D. W. Griffith 
began to use the close-up as an addi- 
tion to the photoplay. Much of the 
success of his early efforts, and the 
consequent recognition of his power, 
came from this seemingly simple dis- 

What seems plain enough to us 
now was in reality the first technical 
move from photoplay to cinema. This 
new art, whelped by stereoptican out 
of a protesting and insulted stage, 
had married the "fotegraph" album. 
There was dynamite in the union. 
Everyone saw an advantage for his 
or her craft in the new genre. Sce- 
nario writers discovered that the in- 
dividual character could speak. The 
star not only satisfied her vanity, but 
found that it was good business to 
impress her features in gargantuan 
proportions on the gaping public. 
Only the director used it as an im- 
provement; he projected epics two 
reels in length, and prophesied them 
even longer. 


Because of the screen's very history 
the long-shot (varying with the spec- 
tator's seat) has always been recog- 
nized; it is inevitable because of the 
fixed focus of the parent, peephole, 
stage. Therefore discussion has cent- 
ered about the closeup, which has no 
stage analogy. 

"The "Aesthetic Protective So- 
ciety of the Drama" has grown bitter 
over faces ten feet across, and retired 
in high dudgeon to ecstaticize over 
actors whose subtlest reactions have 
never even been seen. Any argument 
is met by the caustic inquiry, "What 
use are cinema faces anyway* * * 
even magnified?" 

It is somewhat indicative of the 
imaginations of these stage devotees 
that the comic has been the first 
screen contribution they have recog- 
nized. Prejudice is hard to hold 
against laughter. Also the jump 
from the stage was less great, as 
much comedy is presented in medium 
long shots. Here they have not ob- 
jected to a few close-ups, even when 
they were used only to carry "wise- 
cracking" subtitles. They have 
called the titles out of place. 

The question of whether these are 
cinematic is a study in itself, but 
much criticism of the close-up in 
serious efforts is probably due to 
them. Thus we see a large face with 
the lips moving, a subtitle telling us 
an important part of the plot, and 
then criticize the position of the cam- 
era because what it took was interest- 
ing only as a connecting link. 

It is this ability to change the cine- 
ma into the photoplay that has caused 
much of the purist's dislike of the 
close-up. These condemn its use en- 



tirely because of its present abuses. 
Others who see its advantages believe 
that it alone is truly cinematic. It 
will be interesting to see the reactions 
of both when the new French film 
using three screens for three different 
angles, is presented. And which 
side will the stage purist take? 

While this is an interesting experi- 
ment, it is unlikely that it will ever 
come into general use. The single 
frame is probably here to stay, and 
we may examine the relative merits 
of the close-up and long-shot in re- 
lation to it alone. 

It will be useful to start with a 
pragmatic test such as, that which we 
remember best is most cinematic. 
But we must allow for novelty of 
content and the point of intellect- 
ual or emotional development in the 
picture at which the scene comes. 
Thus we will remember the boxing 
dogs of the news-reel, or the winning 
punch of the feature, although 
neither is more than a picture in mo- 
tion. Both show the action as we 
would like to see it in life, but in 
neither is it more thrilling because 
of some cinematic quality of presen- 

It is the close-up that is first 
thought of in this connection. It can 
give us intimate views, impossible in 
real life, and only referred to on the 
stage. Thus Lady Macbeth's (Act 
II, Scene 2) 

"Go get some water 
"And wash this filthy witness from 

your hand," 
translates cinematically into a basin 
of water, slowly coloring from blood- 
stained hands (Jannings in Variety). 
The description of the witches' brew 
can stand little comparison with the 
close-up of the meat crawling with 
maggots in the original version of 
Potemkin. Both gain by showing us 
what is to arouse our emotions, rather 
than talking about it. 

A still picture, or painting, can 
present any particular moment. But 
in each case there originally was mo- 
tion — the water colors slowly, the 
maggots crawl. What the painting 
gains from the stage in intimacy is 

Ill O %' I ■= »■;*■*■:■«» 

Long Shot 

By F. W. Hubbard 

lost through lack of motion. It is 
only in a moving picture that we see 
both the selection of detail and the 
motion which gives life. The close- 
up combines for us the advantages 
of a rake's seat on the Elizabethan 
stage and a cheap seat in a picture 

The camera is also unique in char- 
acter delineation. Here the lighting 
of a close-up may be as important as 
the facial action, and a well-chosen 
bit of business can key the whole plot. 
The change of light source from on a 
level with the face to below it (Men- 
jou in Sorrows of Satan) is a cine- 
matic revelation of character. The 
torture of an insect, in a recent photo- 
play, foreshadows the plot. 

With this field all to itself, it is 
not surprising that the close-up has 
attracted so much interest. It fills 
so many needs that it is a challenge 
to any theorist. 

But, although less startling, the 
longer shots have much that is cine- 
matic. The stage offers a fixed me- 
dium shot for the front row, and a 
fixed long shot for the last. A drama- 
tic (or should we say cinematic?) 
contrast between even these two can- 
not be secured in the theatre and the 
close-up and very long shot are im- 
possible. We have seen that the first 
is important. Is the second of equal 
value? If it is, we will find scenes 
that could have been presented in no 
other way. 

Chaplin ends most of his pictures 
with a long, long shot, in which the 
camera irises down as he disappears 
into the distance. We remember this 
vividly, and the critics have found 
in it the summation of his characteri- 
zations, "a pathetic little figure." 
This is a scene which only the camera 
can give. In Beau Geste, Digby stag- 
gers off into the desert to sacrifice for 
his brother. This is a scene which, 
moving at any time, has more value 
because of the cinematic quality of 
the shot. Both of these scenes are 
possible only to the screen, and are 
the only ones which could sum up 
the emotion which has gone before 
and add to it. Divorced entirely 

Phulugraph bv United An 


from their emotional or intellectual 
position in the story, they carry the 
thought perfectly. 

If we can find scenes of cinematic 
excellence in both the long-shot and 
the close-up, it is obvious that neither 
is intrinsically good nor bad. What, 
then, must we look for in choosing or 
criticizing a given scene? In each 
of the above examples the picture 
carries an emotional content appro- 
priate to that part of the story which 
it occupies, and powerful enough to 
be remembered. This was because the 
camera took in significant detail, and 
significant detail only. In this we 
find the key to the choice of all our 
shots. Taking advantage of the mo- 
bility of the camera and its ability 
to overcome time and space, we may 
bring together within the frame of 
the screen all those objects and events 
(or a symbolic representation of 
them) necessary to give the full 
meaning to the particular part of the 
story treated. 

High emotional content cannot 
govern our choice entirely, however. 
The story must be carried forward be- 
tween climaxes. Here there is danger 
of increasing the emotion in one 
scene beyond the ability of the 
others to sustain it. Thus the close- 
up of a gun near a character too long 
before he uses it will give us a sense 
of disappointment in the ensuing 
scenes. The interest has been too 
sharply aroused by the method of 
presentation. A medium shot of a 
gun-rack, with some interesting action 
taking place before it, would not 
overly arouse our expectations and 
would still prepare for its use. In 
this case a weak scene adds more to 

the sum total than a strong one. 

There is still another limiting fac- 
tor in the choice of shots. This is 
composition, a factor that has re- 
ceived too little cinematic interest. 
Often without our recognition, it 
adds much to the effectiveness of a 
scene or the importance of one of its 
parts. Whatever is in motion, or 
whatever is brightest, attracts our at- 
tention. Except for this, most cam- 
eras are set up as if they were to 
take a still picture. Little advantage 
is taken of the ability to suddenly 
flatten or bring into relief a whole 
scene, or certain parts of it. Only 
a few experiments have been made 
on the effect of moving patterns, as 
in the dance or pantomime, although 
these must have a relationship to the 
cinema which will some day be used. 
When they are, the size of the figures 
— that is, the choice of the shot — will 
have a still more important part to 

The problem of long-shot vs. 
close-up is involved. Both are cine- 
matic, but the choice involves not 
only what we photograph but its size 
and movements within the frame. 
Both bring something to the screen 
that is found in no other medium, 
and each supplements the other. 
Those who wish to do away with either 
will find that their pictures lack some- 
thing which only that device can 

We have looked into some of the 
reasons for this, and found a few of 
the rules governing the choice. The 
many other determining factors must 
be found and valued by thought and 
experiment — some time in the future. 


FE^Rll/miCW 1929 


It May Be Worse 

NOW that talkies may be pro- 
jected at home it will probably 
not be long before they can 
also be made there. When this occurs 
imagine the director's chagrin should 
the synchronization machinery go 
awry in a reel of talking family por- 
traits! Father, magnificent in the ges- 
tures appropriate to Lincoln's Gettys- 
burg Address, might then be heard to 
emit nothing but the caterwauls of 
Cousin Ecca's two month old twins. 
The twins, in turn, would indeed ap- 
pear changelings if they were heard 
to bark in the chorus properly as- 
signed to Major Spangle's beagles. 
Brother Joe, cheer leader for the high 
school football squad, might dem- 
onstrate his acrobatic technique to the 
verbal accompaniment of Aunt Effie s 
lilting voice inviting all of the "girls" 
to join the Young Ladies' Sodality 
Sewing Circle. And, should Ephraim, 
the family tomcat, conclude this 
melange with the carefully worded 
epilogue of the director himself, 
glorifying the home talkie, then, in- 
deed, would insult be added to injury. 

Comedy a la Russe 

THE present popularity of photo- 
plays with a Russian locale (not 
to mention atmosphere, caviare, cine- 
matic technique and vodka) has in- 
spired the following contribution to 
Muscovite film literature by Amateur 
Films, official publication of the Ama- 
teur Cinematographers Association of 

"Olga Bustup is sitting in a poor 
hut moaning and noisily drinking her 
vodka. Her son, Petroff, is absently 
eating caviare nearby. Petroff groans: 
The Little Brother is Dying. Why 
Are We Here? 

'"Close-up, taken through the bars, 
of the Little Brother (a man of about 
six-foot-six) lying in the next room. 

"Enter husband clad in a fui 
sjambok embioideied with «teppes 
He produces a knout from his hip 

pocket, and moodily beats Olga. Pet- 
roff groans: 

The Little Brother is Dying. Why 
Are We Here? 

"The husband sullenly pushes his 
wife into the stove. Close-up of stove 
insides taken down the stove-pipe. The 
fire is out — nothing will go right. 


-put in both projectors, the splicer, stands, rewinds, color films, the bo.x of 

latest releases, screens, filters " 

■■but what clothes, sir?" 

92 ^ 

"Petroff collapses with his face in 
the caviare. He moans through the 
caviare (this requires careful direc- 
tion ) : 

The Woff Woff Browoffer Ig 


Woff Are Guggug Spludge? 

"The husband goes into the next 
room, strangles the Little Brother, and 
shoots himself. 

"Petroff sullenly opens the outside 
door and lets in a pack of wolves. 
Petroff groans: 

The Little Brother is Dead. Why 
Are We Here? 

"The wolves wonder the same thing 
and quickly rectify the mistake." 

Babble vs. Babel 

*" I ■'HE residents of International 
House, Columbia University dor- 
mitory for foreign students, are re- 
ported to have decided recently to pro- 
duce amateur movies. It is also ru- 
mored that a near riot was engendered 
by the suggestion of making a talkie. 
Confusion, not unlike that at the Tow- 
er of Babel, was said to have burst 
forth, each student arguing for the 
use of his native tongue. Since none 
was an advocate of Esperanto a peace- 
ful program was only arranged when 
it was decided to limit activities to the 
silent screen. 

»■ O «' I E :•■ ,% ML E IK S 


Technical Reviews to Aid the Amateur 

Only Me 


Directed by Henry W. George 

Photographed by. .Jay Turner, A.S.C. 
Idea: A carnival of fun for amateurs 
with a bent for character makeups and 
some ability at mimicry is suggested 
by this Lupino Lane Comedy. As in- 
ferred by the title. Lane is the entire 
cast of the photoplay, assuming twen- 

GRANDEUR— The Prima Donna. 

ty-four different parts in unfolding its 
action. Coming to a theatre he first 
represents a spectator in a box, and 
then the various characters who ap- 
pear on the stage, ranging from pre- 
mier danseuse to Simon Legree, char- 
acters of all ages and of both sexes. 
Sometimes, in fact, he plays several 
characters at once in the same scene, 
this being accomplished by double or 
multiple exposures, but this is a fea- 
ture which the amateur could easily 
omit without loss to the original con- 
cept. Some of the various characters 
depicted by Lane, all so obviously 
sketched as to assure the audience that 
it is still he, are illustrated on this 
page. Many different interpretations 
of this idea will suggest themselves to 
clever amateurs. 

Uneasy Money 

Directed bv Berthold \ ierte! 

Photographed by / / / / / r Baverskv 
The Idea: The camera follows the 
vicissitudes of fortune of a banknote 
with glimpses of all who come in con- 
tact with it. Out of the pattern of life 
that is thus revealed, a well connected 
plot is developed in which the bank- 
note figures sometimes as a motivation 
and sometimes simplv as a witness. 

Phologjaphi by Educational. 
INNOCENCE— The Old Fashioned Girl. 

Often, the banknote is inactive for a 
time in a vault while the story of the 
human emotions that it has aroused is 
unfolded. This idea is capable of sim- 
ple or elaborate treatment by the ama- 
teur who might follow the fortunes 
of any inanimate object with his cam- 
era and weave into his film a brief or 
complicated plot capable of many in- 
teresting possibilities. 

Lupino Lane in a Few of the Twenty 
He Plays in Only Me, Which Sugges 
Idea for Amateur Adaptioi 



Masks of the Devil 

Metro-Gold wyn-Mayer 

Directed by Victor Seastrom 

Photographed by 

Oliver Marsh, A.S.C. 

Cinematics: In several instances, the 
camera is used to depict a character's 
inner thought or impulse in addition 
to the outward action which he con- 
ventionally expresses. In these cases 
the camera becomes the all-seeing eye 
of a narrator who penetrates the minds 
of the characters as well as shows 
their surface reactions. In this case the 
technique used is as follows: first, a 
medium shot or semi-closeup of two 
characters in conversation, then a 
closeup of the face of one of them 
which dissolves into a scene showing 
him reacting as he really feels. This 
scene then dissolves back to a semi- 
closeup of the two characters talking 
together, though these sequences, fit- 
ting in smoothly, do not letard the 
story's development. This idea repre- 
sents one of the camera's wide possi- 
bilities and is open to extensive ama- 
teur experimentation: a short film 
might be produced using this method 
throughout, giving the audience both 
the character's actions and his thought 


FEBRI.^R'tt 1929 



A Scenario for Synchronization 

By Leonard Hacker 

THE following scenario is a mu- 
sical movie. A musical movie 
is one that so successfully 
combines music with films that every 
nuance of movement in the picture 
has its counterpart in the notes of 
the music score. This s)Tichroniza- 
tion of motion pictures with music 
has only recently been given serious 
consideration. Even the best pro- 
fessional films are not perfectly 
timed, because they are not con- 
structed to match a special music 

It is evident that the best motion 
pictures of the future will be those 
whose scenarios and music score are 
expressly written for each other, each 
remaining a complete unit in itself. 
This means that the musical movie 
must be a cinematic design, a thing 
of continuous motion, blending and 
contrasting various themes and mo- 
tifs of different tempos, all mount- 
ing to a crescendo or climax. It is. 
of course, an extremely difficult task 
to make a full-length musical movie 
at the present time, when the subject 
possibilities have scarcely been 
touched UDon. The future will, no 
doubt, bring many variations in the 
methods of synchronizing the music 
with the film. It will be found that 
the simple things, usually unob- 
served by the average person, offer 
the greatest charm for musical mo- 

Jan Cobbler 

One pair workman's clogs 
One pair ladies' pumps 
One pair children's shoes 

Scene 1 — Exterior shoemaker's shop 
{iris in) : close-up of boot shaped 
sign swaying in the wind. 1 Dis- 

Scene 2 — -Interior shoemaker's shop: 
close-up of clock pendulum swing- 
ing rhythmically. {Dissolve.) 

Scene 3 — Interior shoemaker's shop: 

close-up of cobbler's hand examin- 
ing heavy pair of shoes: he marks 
large crosses on soles and heels 
with piece of chalk. { Dissolve, i 

Scene 4 — Interior shoemaker's shop: 
close-up of cobblers hands exam- 
ining pair of ladies" pumps as he 
marks crosses on soles and heels 
with piece of chalk. [Dissolve.) 

Scene 5 — Interior shoemaker's shop; 
close-up of cobbler's hand exam- 
ining pair of children's shoes as 
he marks crosses on soles and heels 
with piece of chalk. [Dissolve.) 

Scene 6 — Interior shoemaker's shop; 
close-up of clock pendulum swing- 
ing rhvthmically. {Dissolve.) 

Scene 7 — Interior shoemaker's shop: 
close-up of cobbler s hands as he 
shapes large piece of leather with 
knife. {Dissolve.) 

Scene 8 — Interior shoemaker's shop: 
close-up of cobbler's hands guid- 
ing heavy shoe under needle of 
sewing machine as it stitches the 
sole. {Dissolve.) 

Scene 9 — Interior shoemaker's shop; 
close-up of cobbler's hands guid- 
ing lady's pump under needle of 
sewing machine — half of sole al- 
readv sewn. (Dissolve.) 

Scene 10 — Interior shoemaker's shop: 
close-up of cobbler's hands guid- 
ing child's shoe under needle of 
sewing machine — sole almost com- 
pletely stitched. (Dissolve.) 

Scene 11 — Interior shoemaker's shop: 
close-up of clock pendulum swing- 
ing rhythmically. {Dissolve.) 

Scene 12 — Interior shoemaker's shop; 
close-up of cobbler's hands rhyth- 
mically hammering nails into heel 
of workman's shoe. ( Dissolve. ) 

Scene 13 — Interior shoemaker's shop: 
close-up of cobbler's hands rh^'th- 
mically hammering nails into heel 
of ladies' pump — half of it already 
nailed. (Dissolve.) 

Scene 14 — Interior shoemaker s shop : 
close-up of cobbler's hands rhvth- 
niicallv hammering nails into heel 

of child's shoe — heel almost com- 
pletely nailed. (Dissolve.) 

Scene 15 — Interior shoemaker's shop; 
close-up of clock pendulum swing- 
ing rhythmically. {Dissolve.) 

Scene 16-^Interior shoemaker's shop; 
close-up of cobbler's hand pulling 
electric switch. [Dissolve.) 

Scene 17 — Interior shoemaker's shop; 
close-up of machine belt spinning 
rapidly. {Dissolve.) 

Scene 1& — Interior shoemaker's shop; 
close-up of cobbler's hands level- 
ing heel of workman's shoe on 
small revolving wheel. (Dissolve.) 

Scene 19 — Interior shoemaker's shop; 
close-up of cobbler's hands smooth- 
ing edge of sole of ladies' pump on 
larger revolving wheel. {Dissolve.) 

Scene 20 — Interior shoemaker's shop; 
close-up of cobbler's hands polish- 
ing child's shoe on large revolv- 
ing brush. (Dissolve.) 

Scene 21 — Interior shoemaker's shop; 
close-up of workman's feet on 
pedestals as cobbler's hands vigor- 
ously polish shoes with heavy 
brush. (Dissolve.) 

Scene 22 — Interior shoemaker's shop; 
close-up of lady's feet on pedes- 
tals as cobbler's hands vigorously 
polish shoes with cloth. (Disolve.) 

Scene 23 — Interior shoemaker's shop; 
close-up of child's feet on pedes- 
tals as cobbler's hands vigorously 
polish shoes with cloth. (Dis- 

Scene 24 — Exterior — street; close-up 
of workman's feet w-alking with 
heavy tread toward camera as 
camera trucks back. (Dissolve.) 

Scene 25 — Exterior — street: close-up 
of lady's feet treading daintily as 
camera follows her. (Dissolve.) 

Scene 26 — Exterior — street: close-up 
of child's feet skipping along as 
camera follows behind them. {Dis- 

Scene 27 — Interior shoemakers shop; 
close-up of clock pendulum swing- 
ing rhythmically: camera trucks 
back slowly, revealing Jan Cobbler 
at his work-bench whistling as he 
rhythmically hammers nail into 
heel of shoe: paraphernalia all 
about him (shoes, leather, tools, 
nails, etc.') : he alternates with 
rhvthmic swing of pendulum as he 
pounds nails. [Dissolve.) 
(Continued on page 131) 


'Iris In On Boot-Shaped Sign Swinging In the Wind" 

A Camera Study by Patricia N.ivlan. Illustrating Musical Shoes 

FEBRU^^IC*' 1929 


TJje Cinematic Adventures of the 
World Tour Debaters 

By W. E. Hempstead, Jr. 


PIONEER forefathers of stu- 
dents in the State University of 
Oregon pushed across the wide 
western plains in the covered wagon 
days of '49 and left their sons and 
daughters the heritage of an instinct- 
ive desire to travel. The last fron- 
tier reached, it seemed for a time as 
if the old watchword "Go West"' 
must pass into oblivion. And then this 
western university decided to send 
three undergraduates, of whom I was 
fortunately one, on the first debate 
tour around the world, during which 
we followed Horace Greeley's advice 
and our grandparents' example to its 
ultimate conclusion. 

Going west in this fashion took us 
to strange lands in which we talked 
to stranger people and saw the 
strangest of sights. 

The possibilities of this unique 
forensic project were utilized to good 
photographic advantage. A full de- 
bate schedule and a good deal of 
special newspaper assignments were 
already arranged. The motion pic- 
ture was the only medium of persua- 
sion of which we had not yet taken 
account. Five days before departing 
from San Francisco for Hawaii on 
the first lap of the thirty-thousand- 
mile journey we passed a kodak 
store, noticed an amateur camera and 
took another gamble. That specula- 
tion, like the speaking project, is pay- 
ing big dividends. 

Back in the United States, fulfill- 
ing contracts with American schools 
after engagements abroad, we realize 
that the six or eight reels of cine pic- 
tures we took had enriched our 

travel experiences. We have paid 
for equipment by presenting illus- 
trated talks to audiences en route and 
at home. We have made our pic- 
tures, entitled Oregon s World Debate 
Tour, featuring extremely lucky 
scenes, a big sideshow of the original 
forensic enterprise. 

Unhampered by previous knowl- 
edge, aside from familiarity with still 
cameras with which we were also 
armed, we obtained unique pictures 
under humorous, dramatic, and even 
dangerous conditions. These sub- 
jects included the world's largest ex- 
tinct crater of Haleakala in the Ha- 
waiian Islands: street scenes in forti- 
fied Japanese areas; governmental 
officials of Canton, China: a child 
.struck by a train in Palestine and its 
father's attack on the engineer with 
a deadly dagger; children in upper 
Egypt literally being eaten by flies: 
a surreptitious shot of Mussolini as 
he emerged, closely guarded, from 
the Chamber of Deputies at Rome: 
the funeral procession of Field Mar- 
shal Sir Douglas Haig in London; 
and a few incidental comic scenes 
from Scotland. Ireland and way- 

Few people go to the trouble of 
scaling Haleakala Crater on Maui in 
the Hawaiian territory. A long auto 
journey must be followed by eight 
miles of hazardous climbing on 
horseback. Yet on the awe-inspiring 
immensity of the crater's rim, ten 
thousand feet high, those exquisite 
views of sunset and sunrise above 
fleecy clouds are as indelibly re- 
corded on the retina of a human eye 

as on the quickest camera lens yet 
produced. Our pictures of this ex- 
cursion may not do the scenery jus- 

In Japan my colleagues were ar- 
rested for still-photographing in for- 
tified zones of Nagasaki near the In- 
land Sea. Under grueling examina- 
tion for several hours, they were 
treated as government spies. Elo- 
quently pleading ignorance of regu- 
lations, which frequently bother the 
picture-taker in the Island Empire, 
they were released. Police searched 
all baggage and examined every doc- 
ument in their possession, including 
letters from girl friends at home. 
Cameras are usually confiscated as 
penaltv for this offense. Sadder and 
wiser photographers, my friends 

Valley of the Kings of Thebc: 

thanked the powers that be. as only 
the films were confiscated, after they 
had been developed and printed in 
the office of the suspicious magis- 
trate. Meanwhile, openly smiling at 
their embarassing plight, I myself 
was secretly uneasy because an hour 
previously I had taken with the 

I /« 1^ E R S 

movie camera the very same scenes 
for which ihey were apprehended. 

Officials of the Canton Government 
received us when we debated Canton 
Christian College. Due to political 
necessity, militarists having criticized 
his policies, the Mayor himself could 
not be present when this interesting 
group posed for us. He had gone 
hastily north to seek refuge in Shang- 
hai. If anyone wants to study the 
village life of chaotic China he need 
only walk a few miles outside of 
Canton to find scenes galore of "the 

After the Debaters' Train Ran Over a 
, Little Arab Girl in Palestine. 

farmers for forty centuries," so filthy 
and dirty as to almost literally 
poison the lens of the camera. 

India is undoubtedly the source of 
more interesting travel pictures than 
can be found anywhere in the East. 
By the time we reached this sun- 
baked continent we had acquired a 
polished photographic technique, hav- 
ing learned by experience the effects 
of various tropical climatic influ- 
ences. In Calcutta the goat sacrifices 
of Kali Temple, described by Kath- 
erine Mayo in her vivid book. 
Mother India, are worth any effort 
involved in getting pictures of the 
performance. Hundreds of goats are 
kept waiting in a market place for 
slaughter on the temple altar. It is, 
indeed, a lurid spectacle when the 
unsympathetic executioner lets his 
sharp sword sever the necks of piti- 
fully bleating kids. 

Some faithful Hindoo or benevo- 
lent tourist must offer the first goat 
to the treasury of the temple. Then 
the killing process goes on all dav. 
I waited until a benevolent fellow- 

tourist paid the priest the five neces- 
sary rupees and offered the first sac- 
rifice. One does not find such pic- 
tures in the west, crime-ridden though 
the streets of some cities may be. In 
editing the Indian scenes we deemed 
it psychologically advantageous to 
precede such pictures as goat sacri- 
fices and bathing in the sewers of the 
Ganges with actual temples from 
which emanate the superstitious dog- 
mas which necessitate these primitive 

To gain admittance to the forty- 
second meeting of the Indian Na- 
tional Congress at Madras we fired a 
fusilade of credential letters from the 
Governor of the Commonwealth 
and the President of the university, 
and stretched our connections with 
American newspapers. As press 
representatives we proceeded to in- 
terview Mahatma Ghandi in his tem- 
porary home. He was observing a 
day of silence and could not speak 
to us, so he wrote on a piece of 
brown scratch paper. He did let us 
come into his room while he read an 
English paper. In the remote hope 
that it would be successful, we filmed 
the great Non-Cooperationist. Be- 
cause the room was exceedingly 
sunny the picture is fairly clear. 
Well-lighted interior pictures of 
Japanese fencing and jiu jitsu in 
Tokio had also been taken. Results 
were quite satisfactory. Where we 
tried to secure interior pictures of 
art galleries such as the Vatican, or 
structures such as St. Peter's Church 
and the Palace of Versailles, the light 
was either too dull or the camera had 
to be checked at the entrances in ac- 
cordance with official regulations. 

I used to ask myself, '"Do fairy 
tales ever come true? " "Do primi- 
tive Arabs really knife engineers 
whose trains strike friends or rela- 
tives?" Returning from Jerusalem 
to Cairo I not only saw such a queer 
drama enacted but, being on the 
ground. 1 was able to take adequate 

pictures of the thrilling show. A 
four-year-old Arab boy was struck by 
our speeding train and injured fa- 
tally. After cranking out group 
scenes — a sad but realistic portrait of 
the unconscious youngster and train- 
men phoning from the top of a tele- 
phone pole — I was almost paralyzed 
with astonishment to see the enraged 
father of the child run knife in hand 
for the engine cab. The innocent 
engineer saved his life only by climb- 
ing to the top and running back sev- 
eral cars, to descend into a first class 
coach. Camera in position, I held 
the trigger down as the farmer, knife 
still in hand and black eyes gleaming 
viciously, returned to accompany his 
dying son, who was being carried to 
their desert village home. The 
would-be assassin approached within 
ten feet of me before I decided to let 
the curtain fall. That picture was a 
triumph, under the circumstances. 

Among the temples, tombs, dams, 
camels and pyramids of Egypt I 
found a few scenes of human interest 
such as fly-blown babies and street 
scenes, for the taking of which "bak- 
sheesh" was not asked. The child did 
open its mouth as if to speak the 
familiar word, but his filthy little 
brown face was literally covered with 
flies and he was only grimacing 
slightly at a few of the insects which 
insisted in crawling between his lips. 
Relieved, I tossed him a piastra and 
hurried on. 

In no country did we find the peo- 
ple more willing to be photographed 
than in Italy. A group of mothers 
near Rome insisted upon having their 
babies and themselves photographed. 
They showed great vivacity and I was 
glad to thus enliven the scenes of 
Roman forums and aqueducts. 

II Duce. Signori Benito Mussolini, 
on the other hand, is extremely hard 
to film. Late in our stay in the Eter- 
nal Citv I was approaching the 
Chamber of Deputies when I noticed 
I. Continued on page 1151 


Ihc Debaters Were Entertained By 

Indian Political Leader. 

■nEBR«Jy%ICY 1929 


In Which the Cinema Saves 
a Social Situation 
By Monica A. Shenston 

MY head's no more use than a 
golf ball or a toy balloon," 
groaned Jeff dismally as he 
lay on the davenport kicking his 

"I know," wailed Doris, who was 
crouched in an armchair, her elbows 
digging into her knees and her chin 
into her hands, "I can't raise a single 
solitary new idea, not a little tiny 
flicker of one. It's simply sicken- 

"We've just got to think of some- 
thing new!" And Jeff kicked a pillow 
across the room and right into the 
middle of Dad's old friend, Dana 
Stoner, who was just coming in. Jeff 
fell from the davenport with an 
apology, but Stoner hit him in the 
head with the same pillow and 

"Your father invited me to spend a 
couple of months here resting, but I 
might as well be shooting lions and 
tigers in Central Africa as herding 
with you kids," he exclaimed. Doris 
giggled, drew him into the corner of 
the davenport, and draped herself 
across his lanky knees. Of course, 
she was fourteen, and in high school, 
but it was all right when it was only 
Uncle Dana. He never made silly 
remarks or pretended she was a baby. 
She and Jeff cast a delighted glance 
at each other as Uncle Dana spoke. 
They thrilled every time he used the 
word, "shooting," because everybody 
misunderstood it the first time. What 
Uncle Dana had really done was to 
spend three years in the jungle hunt- 
ing wild animals with a motion pic- 
ture camera, and "shooting" sounded 
too gorgeously professional for 

"Anyway, Nubbins, what's on your 
mind? It seems to me that the two 
of you can think of something new 
every five minutes of the day." 

Doris burst into explanations. 

"You see. Uncle Dana, it's this 
way. Marge Kennedy, who's our 
cousin, and who lives in New York, 
is coming here soon for a visit, and 
she's had the dandiest kind of parties 
when we've been to see her, and now 
we've got to think of something new 
and exciting, and how in the world 
are we going to throw any kind of 
a party that won't be just pitiful to a 



girl who lives in New York? And if 
we don't even try she'll think we're 
just sick, and all our bunch think 
they're going to be invited to a regu- 
lar riot, and honest, Uncle Dana, it's 
just awful, because we can't think of 
a thing." 

Uncle Dana roared with laughter 
as Doris stopped for breath. He 
looked from Doris's pitiful expres- 
sion to Jeff's desperate countenance. 
Then he fixed his eyes for a few mo- 
ments on a far-away tree just visible 
through the window, and the two 
youngsters knew he was thinking 
hard. They held their breath, and 
Jeff leaned forward eagerly. When 
Uncle Dana smiled to himself they 
nearly exploded, but dared not say a 
word. When he drew back his gaze 
to their plane with a grin Doris threw 
her arms wildly around his neck. 

"You've thought of something!" 
they shrieked in unison. "Tell us 
quick. Uncle Dana! You've thought 
of something just grand!" 

Uncle Dana told them. It was just 
too paralyzing for words! 

A few days later the friends of the 
young Larrabees received invitations 
that sent them into hysterics of cu- 
riosity and delight. They read as 

You are hereby notified to re- 
port ready for work at the studio 
of the Larrabee Mammoth Mo- 
tion Picture Corporation, 261 
Wilmore Avenue. January 15th, 
at 8 p. m., in the costume de- 
scribed on the reverse of this no- 

Note: No extra pay will be 
allowed for overtime. Dinner 

will be served free of charge on 
the lot when shooting is com- 

Doris and Jeff were immediately 
swamped with wild requests for more 
information, but they were deaf as 
posts, silent as the grave. Only their 
two bosom friends were admitted into 
the plot, and the four of them, with 
Uncle Dana, worked day and night 
for two weeks in preparation of the 
great event. 

For Uncle Dana was going to di- 
rect and shoot a two-reel comedy! 
Two amateur reels of course, of one 
hundred feet each. He and the kids 
spent a Saturday and Sunday com- 
posing the story. They described the 
best probable actors in their crowd, 
their appearance, mannerisms, abili- 
ties, and Uncle Dana fitted them into 
his plot. They decided on a story 
of magic in order to bring in all 
kinds of absurdities and justify the 
use of very simple comic and deco- 
rative sets. All of these sets — there 
were only six — were composed of 
one or two lengths of beaverboard, 
reaching to the ceiling and flanked 
by straight hanging curtains. Jeff's 
chum, Norman, was a corker at wav- 
ing about at arm's length a flat 
camel's hair brush about an inch and 
a half wide and three inches long, 
dipped in very thin automobile paint, 
and making perfectly fascinating 
scrolls and pillars and smoke and 
ghostly effects in different shades of 
gray as well as in black and white. 

!•■ O -»' ■ E »■ A K. E K « 

They built a good solid rack to hold 
the board upright without showing 
from the front except a little at each 
side, where the curtains could hide 
it. Changing sets would thus mean 
no more than setting up a new beav- 
er board in the rack and pushing 
about some of tlie grotesque furni- 
ture they concocted from Idoxcs and 
barrels. Some of this was painted 
with the same thin paint, and some 
of it was draped. Doris and Georgia 
had the time of their lives making 
dizzy decorations for the curtains and 

The two boys hung around in awe 
as Uncle Dana set up his tripod and 
camera, tried out lighting schemes, 
measured and focused and made 
tests. He was planning every move 
of the actors and the camera before- 
hand, making the four youngsters go 
through every part, so he would get 
every detail correct the first time on 
the crucial night, and have nothing 
to bother him but the behavior of 
the excited amateurs themselves. 
Georgia, with her fluffy curls, posed 
for some of the girls. Marge, with 
her straight dark hair, for others. 
Jeff was trained as chief electrician, 
and felt immeasurably superior to 
any mere actor. Norman was assist- 
ant director, and lay rehearsing every 
motion of every scene against the 
curtain of his shut eyelids late at 
night, when he should have been 
asleep. Doris and Georgia were 
made responsible for the costumes, 
to see that everyone arrived dressed 
according to specifications, and still 
remained that way every time he or 
she went on a set. 

So when Marge came all the pre- 
liminaries were completed, and even 
she was kept entirely in the dark 
about the nature of the affair. 

The great night arrived. The 
guests came simply rampageous with 
glee. Some of them actually tliought 
the costume specification was a hoax, 
and wore something else, so that they 
had to be sent flying home to find 
something that would do. A few of 
the older members of the families 
were invited to sit on the side lines 
with Mr. and Mrs. Larrabee, who 
had been intensely fascinated by all 
the preparations. 

If any of the actors thought for a 
short moment that the movie stuff 
was merely going to be a farce, they 
were quickly disillusioned, for Uncle 
Dana started in with a stern force- 
fulness that, while it was comic as 
the impersonation of a rabid director- 
cameraman, was at the same time too 
serious to mean anything but busi- 
ness to those to whom it was ad- 
dressed. An easygoing demeanor on 
his part would have wrecked the 
whole affair, for speed and accuracy 
were indispensable if the picture was 
to be acceptable and the party a suc- 
cess. From the moment that Nor- 
man held up a slate with the words. 
"Scene 1, Take 1," before the camera 
and Uncle Dana shot it, a perfectly 
overwhelming order prevailed within, 
well, anyway six feet of the outside 
limits of the set. Beyond that, of 
course, merriment ran loose. But the 
fact was that the whole bunch, young 
and not so young, were too seriously 
interested in every move to have any 
time left for much fooling. 

Marge herself could hardly talk 
for excitement. To have a star part 
thrust on her. in a real movie, and 


to begin going throught the motions 
the same day, was too utterly devas- 
tating. And it was no use pretend- 
ing that it was a little no-account 
movie, eitlier. Not to Marge! Hadn't 
Dana Stoner's name appeared time 
and time again in newspapers and 
magazines and newsreels as one of 
the world's most famous explorers? 
Wasn't this picture going to be shown 
on their very own screen? Marge 
was so weak with joy that Uncle 
Dana had to scare the life out of her 
before she came down to earth and 
got to work. 

Uncle Dana's elaborate planning, 
his perfect continuity, his absolute 
certainty of where every light and 
every piece of property and every 
person should be at any given mo- 
ment, brought results. Scene after 
scene was rehearsed not more than 
twice and then the shout of "Camera!" 
moved them all in their proper time. 
Of course they looked into the cam- 
era, and of course they walked out 
of the set, especially the few twelve- 
year-olds, but Uncle Dana knew that 
this would only add to the hilarity 
of the future presentation. So he 
kept on grinding. He had never had 
more fun in his life. 

At midnight the last scene was 
shot, and a weary but joyful gang 
tramped down into the large, airy 
basement, where a movie-lot cafeteria 
was set up. They all took everything 
in sight on their trays and sat down 
with a sigh of relief on the long 
plank benches to talk faster than they 
ate, and to look each other over. 
This was going to be a party worth 
telling about! No wonder these 
Larrabees kept their mouths so tight 
shut! Golly, what fun! Say, how 
about doing this on our own, some 
time? You can buy these little 
movie outfits, and Jack has a cousin 
who owns one, and he says they work 
just fine. Hurray! We're all in the 
movies now! 

Marge wept tears of j oy as she told 
Doris that nobody she knew in New 
York would ever, ever have thought 
of anything so original. Seven dis- 
tinct and separate parents told Mr. 
and Mrs. Larrabee that they had not 
seen or scented the trace of a single 
flask, and that there could certainly 
not have been any private petting 
parties going on with such a counter 
attraction as the arc lights. And 
when Uncle Dana, who was receiving 
thanks more heartfelt than had ever 
fallen to his lot before, announced 
that the Stupendous One and Only 
World Premiere would take place at 
the Larrabee Theater at seven-thirty, 
the following Saturday, the cheers 
of principals, extras and spectators 
alike made the old house quiver. 

FEBIClJ/^IKir 1929 


Over To Films 

THE Neighborliood Players of 
Providence. R. I., with several 
successful legitimate produc- 
tions already to their credit, are enter- 
ing the amateur photoplay lists with 
Be Yourself which will run 600 feet 
16 mm. Many of the members are al- 
ready amateur cameramen, it is re- 
ported by Marshall H. Cannell. pres- 
ident, and if this first movie effort is 
a success, the Players will concen- 
trate their work on films. Other club 
officers are: Mrs. Thomas R. Clayton, 
vice-president, Arthur W. Slocomb, 
secretary "and R. Lucian Appleby, 
treasurer. Be Yourself, a story in- 
tended for summer production, will 
be adapted to fit winter settings in 
Providence. Three cameras will be 
trained on the cast in their first work 
with the new medium. 

Up to the Minute 

RECENTLY organized, the Kino 
Club of the Webb School in 
Claremont. Cal.. is already complet- 
ing its first production, Fale. a 16 mm. 
drama recording the tragic dissolution 
of a young man's character. Outdoor 
sets have been erected and the moving 
camera and other cinematic devices 
used. Robert Bard, president and cam- 
eraman, writes that their use has been 
both practical and effective. Other of- 
ficers are: Alan Robertson, treasurer. 
Scott Newhall, assistant cameraman. 
Joe Root, continuity clerk and Tom 
Phillips, business clerk. These, with 
' Clara Kock, Anne Bard and George 
Hirshbrunner, form the cast of the 
first production. 


News of Group Filming 

Edited by Arthur L. Gale 


Frum . 

Scene fr 
.IJ..P. F.I 
,,1„ fn.r 

A Movie Mai: 
om the Produ 
med by Shade 
n the Plot 

iction of A Heldiip 
.V Studios of Minne- 
PublJshed in this 

Civic Plans 

\ T the last meeting of the Cleve- 
■^ land Amateur Movie Club, Cleve- 
land, Ohio, plans for an unusual civic 
film were discussed and passed on. 
The nature of this project has not 
been announced but Cleveland ama- 
teurs promise a new approach to the 
matter of cooperation of an amateur 
movie club toward the progress of the 
city where it is located. 1600 feet of 
16 mm. film taken in the West Indies 
by Emory C. Hukill and camping 
scenes shot by Joseph Ramsay were 
screened. The club welcomes all Am- 
ateur Cinema League members as 
guests when any are passing through 

Large Canvas 

PLANS were made at a recent meet- 
ing of the Undergraduate Motion 
Pictures of Princeton LIniversity, 
Princeton. N. J., for the production of 
a 400 foot 16 mm. drama, under the 
working title. Destiny. The picture will 
open with scenes of the hegira of Mo- 
hammed and, after this symbolical 
introduction, will present a study of 
various characters in intense conflict. 
Several sets will be erected and many 
extras will be used for the opening 
scenes. In some instances six cameras 
will be used. Edgar Holden, III, and 
Brentaigne Windust. assisted by 
Thomas Emory and Elmer Kincaid, 
will direct the production. Camera- 
men will be: J. V. D. Bucher, C. D. 
Hodges, J. M. Doubleday, John Wa- 
terhouse and Henry Louderbough. 
with A. H. Singer, Irving Perine and 
C. B. Alexander as assistants. William 
Colbron will supervise the production 
of which Serge Korff will be technical 
director and E. M. Indahl chief elec- 
trician. Among the cast so far chosen 
for Destiny are: Eric Barnouw, who 
will play the lead, Beatrice Traendly, 
who played the lead in the famous 
And How. William Huff and John 
Westwood. W. R. Frost, publicity sec- 
retary, writes that the club plans to 
submit the film to Photoplay's con- 
test and that camera work will be fin- 
ished bv the first of March. 

Another School 

STUDENTS of the Chevy Chase 
High School. Bethseda. Md.. have 
formed an amateur movie club under 
the leadership of W. R. Gingell. An 

I /% H E R S 

experimental reel has been produced 
and the club plans to begin serious 
work wirii filming a story based on 
college life. Mr. Gingell will be both 
director and cameraman of the first 
major production. Elmer Osmun will 
be assistant director, Betty Kelly, sce- 
nario editor, Ben Sullivan, assistant 
cameraman and Jane Heineker, direc- 
tor of wardrobe and makeup. Anna 
Moore Converse is secretary and Miss 
Helen Price the faculty supervisor for 
this new school activity. 

Entry Ready 

/^AMERA work on Judgment Ful- 
^^^ filled, one of the productions of 
the Cumberland Amateur Motion Pic- 
ture Club to be submitted to Photo- 
play^ s contest, has been completed and 
the film is now being edited. To facil- 
itate this work, a 16 mm. print has 
been made which will be edited and 
then used as a guide in editing the 35 
mm. negative. The finished film will 
be available in both 16 mm. and 35 
mm. widths. Camera platforms and 
runways are now being built and 
lighting effects arranged for the sec- 
ond contest production of the club, a 
symbolic film study. 

Amateurs Analyze 

/COMPARATIVE screenings of the 
^^ professional movies of 1912 with 
those of today were made for the 
members of the Silver Screen Club of 
St. Paul, Minn., at its last meeting. 
The evolution of professional tech- 
nique in photography, lighting and 
direction was pointed out in an ad- 
dress. Motion Pictures, Past and Pres- 
ent, by R. H. Ray. while T. Glenn Har- 
rison spoke on the artistic freedom of 
the amateur producer pointing out 
that good taste and common sense will 
govern amateurs in their self-imposed 


■KJARROJF PATHS, production of 
^ ^ Markard Pictures, met an enthus- 
iastic reception when it was screened 
for the Portland, Ore., Cine Club at its 
last meeting. This active amateur 
group is planning its first photoplay 
to run 400 feet 16 mm. 


A Trajiic Moment in The Fast Male. Feature of 

the Stanford Studios, Stanford, California. 


How the Flower City Amateur Movie Club of 

Rochester, N. Y., Solved Its Interior Lighting 

Problems Out of Doors in Filming Freshman 


Detroit Group 

A N enthusiastic group of Detroit, 

Mich., active amateurs recently 

perfected the Amateur Cinema Club 

of Detroit under the leadership of 

Mrs. Lucile K. Hughes, an Amateur 

Cinema League member who will be 
remembered by the readers of this de- 
partment for her efforts in behalf of 
amateur organization in Philadelphia. 
Mrs. Hughes has also written for 
Movie Makers. Dr. Gilbert J. Israel, 
who is using his amateur camera in 
making scientific films, was chosen 
president. Dr. C. Chandler, vice-pres- 
ident, H. M. Nelson, secretary-treas- 
urer. Glen Lyons, production director, 
Lloyd Hammond, chairman of the 
program committee and Mrs. Hughes, 
publicity secretary. This new group 
will include both programs for the 
amateur cameraman and film story 
production in its plans. 


' I ''HE Lansdowne Amateur Movie 
Club, Lansdowne, Pa., is holding 
a scenario contest, open to high school 
students, to secure material for its 
first production, to be commenced the 
latter part of this month. Robert Hen- 
derson is club president, William Le- 
wars, vice-president, Marian Blew, 
secretary and Francis Cochran, treas- 
urer. Faculty advisors are Miss M. 
VlcCullough and Mr. Ewan. 

Mountain Film 

'T^HIS year's production plans for 
the Satellites, of Brooklyn, N. Y., 
include filming a tale of three young 
people on a mountain climbing trip, 
to be scenarized by Miss Lillian Belle 
Sarney, this to be entered in Photo- 
play s contest if finished in time. Late 
programs of this unit featured screen- 
ings of members' films with satires 
on the presentations of metropolitan 


A NOVEL comedy idea was intro- 
duced by the Stanford Studios, 
Stanford University, Palo Alto, Cal., 

[Continued an page 1181 

The Fast Mule which Recently Had Its Premiere At Stanford Uni^ 

■ ■:nKa lie* 19^9 

% K E R « 

O be able to think in color, instead of 
black and white, has added to amateur 
movies a new charm-the charm an artist must 
feel when doing a particularly fine painting." 

Cine- Kodak li.f.l.Q. 

adapt Pfl for Koda- 

color pictures. 

-Excerpt from one of the innumerable 
letters received from Kodacolor users. 

See Kodacolor Demonstration 
at your Cine-Kodak Dealer's 

Eastman Kodak Company 

Rochester, N. Y. 

Kodasrope H. adapted 

for Kodacolor 


JFEBIKi;;%IK'*' 1929 

Photographic Beauty as Recorded at Wolfeboro, N. H. 


A Discussion of Photographic Relationship. 

IT is with no little pleasure and 
satisfaction that I have been fol- 
lowing the splendid progress 
being made in amateur motion-pic- 
ture photography. The last year has 
seen a tremendous improvement in 
cameras and accessories for the 
strictly amateur cameraman. In fact, 
it can be said they are now of pro- 
fessional quality and excellent work- 
manship throughout. I believe that it 
may be safely stated that in skilled 
hands the leading amateur motion- 
picture cameras will produce results 
just as professional and satisfactory 
as may be obtained with the equip- 
ment used by the motion-picture 
studios and well known professional 
cameraman. For the most part, it is 
a difference in size of film, size of 
camera and cost. There are amateur 
cameras which use standard film and 
cameras which use the 16 mm., or 
amateur size, and other narrow films. 
In all models and types as made by 
the leading American and European 
manufacturers there is today the 
same skilled workmanship that one 
expects in truly professional equip- 
ment. There is, too, the same ver- 
satility in the matter of lenses, slow 
motion, stop-motion, reverse, tele- 
photo and other, heretofore, profes- 
sional features. 

This remarkable showing has been 
made in so short a time that it seems 
almost incredible. Yet. to-day. ama- 
teur motion-pictures are becoming 
rapidly as popular as the phono- 


By A. H. Beardsley 

Editor of Photo-Era Magazine 

graph or the radio. This might not 
be so true were amateur motion-pic- 
ture photography confined to making 
the pictures only. It is the supple- 
mentary motion-picture projector 
which has aided and abetted the cam- 
era. In fact, the projector is now 
often the first step, due to the splendid 
library of dramatic, educational, 
humorous and scientific film-subjects 
which may be rented or purchased 
for showing at home. It is usually 
not very long after the acquisition of 
a projector, however, that its owner 
succumbs to the desire to make his 
own movies, and then he becomes one 
of scores of thousands of enthusiastic 
amateur caineraman. Without a doubt, 
the advent of the successful amateur 
motion-picture camera and projector 
is one of the greatest forward steps 
that the art and science of photo- 
graphy has made since the production 
of the motion-picture. There is every 
reason to rejoice and to look into 
the future with anticipation for still 
more wonderful photographic pro- 

Whenever a decided step in advance 
is made in the progress of any art 
or science, there are often problems 
which spring up as the result of the 
upsetting or re-arranging of ideas 
and methods. This is true in the case 
of amateur motion-picture photogra- 

phy. In the hurry to be among the 
first, certain fundamentals are some- 
times overlooked and the anticipated 
success is not realized. This is re- 
flected in the hurried discarding of 
still cameras in favor of the new 
motion cameras by those who have 
been successful amateur photograph- 
ers. They seem to take the attitude 
that it is a case of still or motion 
photography instead of still and 
motion photography. As things stand 
to-day, neither branch of photography 
can very well do without the other 
and achieve complete photographic 
success. By that I mean that neither 
branch can do all that the other can do. 
Somewhere in portrait, scientific or 
industrial photography either still or 
motion photography will produce the 
best results for the work to be done. 
In this progressive age, I would not 
venture to predict that this will al- 
ways be true. There may come a time 
when motion-picture photography 
will do all that still photography 
does, and more too; but for the pre- 
sent, at least, the two branches of 
photography need each other for com- 
plete and adequate results. Books, 
magazines and newspapers are still 
large users of the product supplied 
with a good still camera. 

Without in any way wishing to stay 
the progress of amateur motion-pic- 
ture photography or in any way to 
imply that I am not for it, let me 
remind my readers that, after all. in 
still photography lies the very found- 

!M O '%' ■ E 

I /% 14 E R S 

ation of motion-picture photography. 
To be sure, in technical and mechan- 
ical details there is a pronounced 
difference; but basically the matter 
of exposure, sensitive film, developer, 
fixing and the careful composition 
of the picture lies in still photo- 
graphy. For that reason the amateur 
cameraman will do well to keep his 
still camera or secure one and become 
a master of it in connection with his 
preliminary work with the motion- 
picture equipment. And when he is 
master of his still camera he will the 
more readily become a master of his 
motion camera. There will be times 
when the still camera will meet a 
need which, as yet, is not met by the 
motion camera. Then, again, when 
he is in search of a bit of a thrill and 
wishes to record events and family 
happenings in motion, his motion 
camera will supply the effective 
means. In this way, the amateur will 
find the greatest satisfaction, and 
photography will reveal itself to be 
the great art and science which we 
know it to be. 

The present-day feature motion- 
picture as shown at the best theaters 
is convincing evidence of the vital 
importance of good composition pic- 
torially and technically. By means 
of still photography the amateur 
cameraman can study this important 
part of the artistry of still or motion 
photography. He can do so with 
greater leisure, and at less expense. 
When he has acquired the ability to 
compose his picture or scene with 
consistent good judgement and taste, 
he is then ready to depict a picture 
and scene in motion. It is the atten- 
tion to details which places the stamp 
of superiority on the work of the pro- 
fessional cameraman. In many cases 
it is a former pictorial photographer 

who is relied upon by motion-picture 
producers to supply those beautiful 
Ijits of scenery and lighting-effects 
with which the feature plays are so 
often impressively adorned. It stands 
to reason that if the amateur cannot 
produce a well-composed picture with 
a still camera, he is very likely to be 
unable to do so with a motion camera. 
It is a case of mastery of one of the 
fundamentals of still photography 
before he can achieve similar success 
in motion photography. 

Without a doubt, there are those 
who have never used a still camera 
and who have made excellent motion- 
pictures without preliminary exper- 
ience with even a small box-camera. 
It is a parallel case to the man who 
asserts that a thing cannot be done: 
and in the next instant some one 
proves conclusively that it can be 
done. I learned this lesson some years 
ago when I very foolishly made the 
statement that a vest-pocket camera 
was not an ideal camera with which 
to make speed-pictures. In no time at 
all I recieved some of the best pictures 
of sporting-events that I have ever 
seen — all made with some type of 
vest-pocket camera! I still believe 
that other types of cameras are pre- 
ferable to a vest-pocket outfit for 
speed-pictures; but never again will 
I venture a definite statement with 
regard to any photographic equip- 
ment or method which is continually 
being improved. Hence, although I 
sincerely believe that mastery of pic- 
torial composition with a still camera 
is the best way to make a success of it 
with a motion camera, far be it from 
me to say that a person cannot walk 


Still Catnei 

Caught With 

into a photo-shop, purchase a motion 
camera and, at once, produce well- 
composed pictures. 

In still photography virtually the 
entire success of a picture depends 
upon the correct exposure for the 
subject in hand. This is true in the 
case of motion photography. The 
mastery of exposure is a fundamental 
requirement of all photography. For 
the present, the necessary experience 
can be obtained at less cost with a 
still camera than with a motion cam- 
era. Here again there are exceptions; 
but in most cases I believe that a 
person with a twelve exposure 31/4x 
4Vi roll of film in a still camera or 
with one of the single exposure cam- 
eras using standard movie film will 
learn more about exposure in the 
careful and more leisurely mani- 
pulation of the still camera than he 
will by pressing a button and grind- 
ing out one hundred feet of motion- 
pictures, granted that there are per- 
sons who will learn little, if any- 
thing, about exposure by either me- 

My conception of the mastery of 
exposure is to know why this and 
that happens under varying condi- 
tions of light and subject. In short, 
to understand the principles involved 
as well as the mechanical operation 
of the lens-stop and the shutter- 
speeds. The still camera offers, I 
believe, the best method whereby to 
study the matter of photographic 
exposure. On the better still cameras 
there is a greater number of shutter- 
speeds, particularly in the case of 
focal-plane cameras. It may be 
argued that the amateur cameraman 
has no need of a knowledge of these 
speeds because he will never use 
them. True, perhaps, but if he is 
(Continued on page 116) 

FEBRW/%R^ 1929 




Arc Lamp 

The finest all-purpose 
indoor lamp you can 
buy. Simple, safe, 
compactand portable. 
Steady electric arc 
burns with blue-white 
light of great actinic 
value. Price complete 
with all parts as illus- 
trated, $65.00. 


70-75 Exposure Meter 

The new Dremophot Exposure Meter is exactly 
what you will need for indicating correct exposure 
in taking indoor movies with artificial light. Also 
in making natural color movies out of doors 
using Kodacolor attachments for Filmo cameras. 
The Dremophot provides, at a glance, scientif- 
ically correct exposure readings for both models 
of Filmo camera — 70 and 75. All the speeds at 
which various models of Filmo 70 may be oper- 
ated— 8. 12, 16, 24, 32 and 128 frames per second 
— are provided in direct readings. By all means 
use the Dremophot in becoming accustomed to 
the exposure conditions of indoor movie making. 
The price, with sole leather, hand-sewn case is 
$12.50. Mark coupon. 

SEWAH Titling Outfit 

With this outfit, which furnishes several fonts 
of artistic capitals and smaller letters, really 
beautiful titles are easily made. The illustra- 
tion depicts the Filmo camera being aligned 
preparatory to shooting a title. Mark coupon 
for informative folder. 


Cinema Mazda Lamp 

This illustrates the lamp with short 
stand for use on table or chair. Price, 
with 1000 watt Mazda globe, exten- 
sion cord and carrying case, com- 
plete, $31.00. 

WINTER days, evenings and holidays are packed with 
opportunities to make and show indoor movies. Take 
movies when your friends call, or invite in a group of guests 
and stage an indoor movie making party — then, later on, 
hold another party to show these pictures. Nothing provides 
better entertainment. The children are always willing actors. 
Some of the finest movies yet made have been taken indoors 
with a Filmo camera and Halldorson Cinema Lamp. Check 
coupon for folder on indoor cinematography. 

The Halldorson Mazda Light is exceptionally practical, 
simple and complete for indoor movie making. It uses a 1000 
watt, tubular Mazda globe operating at 9 amperes. The 
silvered reflector can be tilted to direct the beam of light at 
any necessary angle. If the tripod stand is employed the 
light may be used at any height up to ten feet. Price of light 
with tripod, twelve feet of cord and carrying case, com- 
plete, $37.50. 

For close-ups and short shots of small groups where light 
can be used close to subject, one Halldorson lamp will give 
ample illumination to make movies with a Filmo camera 
and regular F 3.5 lens. 

With an additional lamp or two and the faster F 1.8 or 
F L5 lens, instantly interchangeable with regular lens in 
either Filmo 70 or Filmo 75 camera, larger groups in spacious 
rooms can be photographed with splendid results. 

Film Editer 

Looking through eyepiece, each picture in 
film is seen illuminated from beneath, magni- 
fied nine times and caused to appear right side 
up. Makes film editing a joy. Editer can be 
secured separately or mounted on same block 
with rewinder and splicer, as shown. Mark 
coupon for complete details. 

I»IOVaE »fl/«KCRS 

With Bell & Howell Filmo 
and accessories 

Fast Lenses 

Mark coupon to receive our special lens catalog containing 
complete descriptions of fast F 1 .5 and F 1 .8 lenses. In addition 
to using these lenses for indoor work you will want one of 
them for adapting your Filmo camera to take Kodacolor 
movies in natural colors. Mark coupon also for Bell & Howell 
pamphlet on making Kodacolor pictures. 

Projecting your movies 

For greatest possible screen illumination and brilliance in 
projecting your movies, use the Bell & Howell 250 watt lamp 
Projector and Extra-Lite projection lens. The unparalleled 
screen brilliance furnished by this equipment saves many 
a foot of indifferently photographed film from mediocrity. 

The regular model Filmo Projector, using 200 watt lamp, 
is $190 with carrying case. De Luxe model equipped with 
250 watt lamp, variable voltage resistance and voltmeter is 
$240 with carrying case. 

The Extra-Lite Projection Lens is available for either 200 
watt or 250 watt projector. Its result is 10 to 25 per cent 
more illumination delivered to screen than when using regu- 
lar projection lens. You have your choice of three focal 
lengths: 2", 2y2" and 3". Price $15.00 each. See a Filmo 
dealer. Or mark coupon for further information. 


Bell & Howell Co., 1828 Larchmont Ave., Dept. B, Chicago, 111. 

New York, Hollywood, London (B. & H. Co., Ltd.) 
Established 1907 

New Perforated Screen Safety Shutter 
for B. & H. Filmo Projector 

This new safety shutter has been developed to allow 
prolonged projection of single frame pictures with- 
out in any way injuring the film. The shutter has a 
perforated screen of fine mesh which permits the 
passage of sufficient light to project single frame 
pictures with excellent illumination and safety. 
Those possessing Filmo Projectors in which this new 
screen has not been incorporated may have it in- 
stalled at our factory, branches or Filmo dealers' for 
$3.00. Price of Perforated Screen Safety Shutter 
alone — 75c. 

New 3^ " Projection Lens for 
Filmo Projector 

This is a new wide angle, short focus projection lens 
invaluable for window displays and short throws, 
in which its use is preferable to the 1" and IK" 
lenses. The definition and flatness of field obtained 
with this new 34" Focal Lenglli Projection Lens are 
really remarkable, and you will be highly pleased 
with results obtained when projecting at short range. 
The price, $9.00. Mark coupon. 

Character Title Writer 

An illuminated movie stage upon which hand let- 
tered titles, animated cartoons, motion autographs, 
clipped illustrations and miniature scenes may be 
photographed in true professional manner. Mark 
coupon for details, or see your Filmo dealer. 


1828 Larchmont Ave., Dept. B, Chicago, III. 

Please mail me complete information on D Filmo Cameras 
D Filmo Projectors D Halldorson Lamps n Filmospeed lenses 
D Adapting Filmo to Kodacolor n Character Title Writer 
and Titling Outfits D Film Editer D New Safety Shutter 
D New ^"Projection I. ens D L)remophot QSend indoor 
movie folder "The Life of the Party." 

Name _ 

I City 

FCBRl.^RY 1929 


0\ ER at Universal Pictures Cor- 
poration the other day. some 
one told me tlial more tlian a 
million feet of film was shot when 
Uncle Tom's Cabin was being made. 
The finished picture, as shown on the 
screen of the country's theatres, runs 
something like a dozen reels, or ap- 
proximately 12.000 feet. This means 
that ninety-eight percent of the orig- 
inal footage was discarded. \ ou and 
I may have our own 
ideas as to whether it 
was necessary to shoot 
a million feet in the 
first place, but. what is 
more to my point, it 
brings out forcefully 
the important part 
played by editing in 
professional produc- 

Far be it from me to 
suggest that the ama- 
teur discard anv such 
portion of the film he 
shoots. Rather, edit as 
much as possible be- 
fore you begin shoot- 
ing. But no matter how- 
careful you are. there 
will be many shots that 
can be improved by 
trimming here and 
there, to say nothing of arranging the 
scenes in a manner as to clearly and 
entertainingly present your subject. 
W hether it is an amateur's first at- 
tempt or the finished product of a 
company that has produced film for 
twenty years, any film can be im- 
proved by editing. 

And let me emphasize one other 
idea: shooting is but one-third of the 
fun you can get from vour hobby. 
Another third is accounted for by 
screening the picture for yourself and 
your friends. In between these two 
comes as interesting and instructive 
a third as you could ask for. editing. 
There is a satisfaction to be gained 
in watching a film grow from more 
or less disconnected shots into a co- 
hesive, interest-holding whole that, to 
me at least, is far more absorbing 
than either taking or viewing the 

The longer the film, the more neces- 
sary is editing. This does not mean, 
however, that even a hundred foot 
reel can not be improved bv arrang- 
ing the scenes in proper sequence, 
eliminating poor or needless shots 
and by adding titles. The main dif- 
ficulty in editing is to keep track of 
the different scenes and to be able to 
find the proper piece of film when 
you are ready to splice it in. Of 


By Lawrence H. Smith 

course, professional cutting rooms 
are elaborately equipped with files, 
and all that sort of thing, to take 
care of the cuts. The average ama- 
teur has neither the space nor the 
inclination to spend the money nec- 
essary for such an arrangement. 

A few weeks ago I finished shoot- 
ing a film for a two reel suliici t. The 


scenes were distributed in a more or 
less haphazard manner through some 
twelve hundred feet of 16 mm. nega- 
tive and with about 200 cuts for 
scenes and titles I was up against the 
problem of finding an inexpensive as 
well as practical method to keep the 
cuts in order. Here is the way I 
worked out the problem. 

I bought a 23x33 inch drawing 
board at an art material store. Then 
I visited a hardware shop and pur- 
chased half a dozen dowel rods. 3 16 
of an inch in diameter, and a bit 
the same size. \^ ith a T-square. I 
ruled the board into two-inch squares 
and at the intersections drilled holes. 
It was a little tedious but I did it 
in less than half an hour. It only 
took a few minutes more to cut the 
dowels into two inch lengths and in- 
sert one pin in each hole. \^ hen I 
had finished the job I had a board 
with 130 pins extending an inch and 
a half. Not counting the time it took 
to make the board, the entire expendi- 
ture was only S2.15. As I happened 
to have a numbering stamp. I num- 
bered each pin consecutively from 1 
to 130. beginning with the upper left 
hand corner. 

Here was as good a film rack as 
one could ask for. Set at the back of 
mv desk it was an easy matter to 

place each scene on its proper pin as 
I cut it from the work print. The 
assembly was a simple matter of 
patching the different cuts together in 
the order they hung on the board. 
The illustration shows the board when 
I had finished cutting about half of 
the print. Because many of the 
scenes were in the proper sequence 
the 130 pins were ample for the two 
reeler I was making. 

But 1 learned more 
^^^^^— from this picture than 
"^^^^H just how to make a film 
i^^^^l rack and it is in the 
I^^^^B hope that my exper- 
i^^^^H ience will prove of 
^^^^^H interest and posslbly 
"^^^^H be of help to others 
^^^1 that I am passing it 
\ along through MoviE 

The first thing I 
learned was that to edit 
a film as it should be 
edited I had to know 
that film almost frame 
for frame from begin- 
ning to end. Also that 
unless there was a con- 
tinuity sheet of some 
kind to guide me that I 
would be hopelessly 
lost. In shooting I had 
worked from a rather sketchy scena- 
rio, a bad production method, as 
many times one scene suggested an- 
other until in the end I had about 
twice as much footage as was first in- 
tended and I knew that a good share 
of it would'have to be discarded. This 
could have been avoided by a care- 
fully planned script, but now there 
was nothing to do but rely on editing. 
1 set up the projector on the side of 
mv desk and ran and re-ran the film 
until 1 was thoroughly familiar with 
it. Then 1 took the scenario and from 
it. together with mv knowledge of the 
film, wrote out a continuity sheet. The 
original scenario called for seventy- 
eight scenes and titles: my first con- 
tinuity sheet called for one hundred 
and sixteen and. as other shots and 
cuts were decided upon, the final con- 
tinuity listed one hundred and eighty- 
four cuts, scenes and titles. The rest 
of the two hundred and fifty cuts in 
the finished film can be accounted for 
bv cut-backs, close-ups. new shots, etc. 
As mentioned before, the scenes 
were here, there and everywhere in 
the film, as some of the shots in the 
same sequence were made as much as 
two weeks apart. But all the titles, 
originalh. were together, although 
several were added, changed or dis- 
{Continued on page 1131 

«■ «» « I ■ «I .« Kk ■ K H 



JVODACARTE meets the social requirements of a card table 
and the technical requirements of a home movie screen. 

Closed, it is an unusually attractive card table, covered with 
artificial leather embossed in gold and treated to protect it 
against stains and scratches. 

Open, it is an aluminum finished screen, 18^i;" x 25", that 
will bring out the best there is in your pictures. 

Price $30.00 


Eastman Kodak Company, Rochester, New York 

FE^ICUj%ISY 1929 


News of VisimI Education in Schools and Homes 

Making Your Own 

MOVIE MAKERS is pleased to 
note the recognition given an 
amateur educational film in 
the December issue of the Educational 
Screen, the magazine devoted to the 
development of every phase of visual 
education. The film. What Price 
Folly?, production of the Roosevelt 
High School. Seattle, Washington, was 
fully described in the Amateur Club 
Department of this magazine for Sep- 
tember, 1928, and concerns the dan- 
gers of overeating, poison ivy, sun- 
burn, sprains and various other sum- 
mer vacation temptations and pitfalls 
which high school youth is apt to en- 
counter. It is said to be particularly 
effective in teaching these lessons. 

In producing its own film, the 
Health Committee of Roosevelt High 
School has solved the problem of film 
source when pictures on desired sub- 
jects are not available. It has also 
found that information conveyed in 
such student-enacted films is much 
more completely acquired than when 
text book instruction is employed ex- 
clusively. This is obviously true, for 
the reason that students are keenly in- 
terested in enacting and viewing a 
story of their own making. While they 
might be lax in learning the dos and 
don'ts of physical hygiene for the 
practical value of such information, 
they readily grasp the same principles 
conveyed in a pictured story. It is 
now recognized in the psychology of 
visual education that material made 
interesting is more easily acquired 
than facts drily stated. Also it is real- 
ized that by far the greatest percen- 
tage of people is eye minded and 
hence picture symbols of an idea are 
impressed on the brain with greater 
force than are word symbols of the 
same idea. 

Thus it can easily be understood 
why educational films, such as What 
Price Folly?, are so successful from 
both the students' point of view and 
that of the teachers. Further experi- 
mentation along the lines pointed out 
by this film should lead to equal suc- 
cess among students and instructors 


*■ cent issue j oined those publications 
carrying a department devoted to the 
use of visual aids in educational pro- 
grams. This department is edited by 
Arthur L. Marble, who has also been 
a valued contributor to M O V I E 

Edited by Louis M. Bailey 


rtistically the Photographer Has Chose 

Fectively. and at the Same Time H 

iven the Picture Significance with Su 

gestion of Old World Locale. 

Mr. Marble in another article in 
Photo-Era advances the interesting 
idea that the camera teaches one to 
see that which is significant in his 
surroundings. This is quite true, and 
we might add that selectivity and re- 
action to that which is significant, be- 
cause of some superior quality of 
beauty or strength it possesses, is the 
basis of appreciation and good taste. 
Certainly no better means of develop- 
ing the sense of selectivity for appli- 
cation to any field offers itself to the 
student that practice with a cine cam- 

Churches Too 

TN an article, entitled The Gospel 
-*• on the Screen, appearing in Church 
Management, Mr. Arnold F. Keller of 
Utica, N. Y., makes the following 
statement, "The opportunities for the 
use of still and motion pictures in the 
educational work of the church are 
obvious. When this is recognized ev- 
ery church and denomination will 
have its secretary of visual instruction 
who will furnish the church service, 
the church schools, the young people's 

groups, and all study groups with the 
best available materials and methods 
for religious visual instruction." 

Coming as it does from a man inter- 
ested primarily in the church and in 
the movies merely as a means for 
teaching the doctrines of that church 
and whose work consists of a study 
of the various means of carrying out 
an effective educational program, this 
paragraph is indeed a significant tri- 
bute to the value of motion pictures as 
an educational medium. 

State Educational 

\ N interesting corollary of the D. 
A. R. plan to film the story of 
each state, previously reported in 
these columns, comes to our attention 
in the form of a four reel film pro- 
duced by the Idaho State Chamber 
of Commerce. This film consists of 
agricultural views, lumbering from 
the stump to the sawmill, mining and 
recreational views of some of the 
mountains, lakes and rivers. Included 
also are scenes of wild life showing 
closeups of deer, bear, elk, mountain 
sheep, mountain goat and other wild 
animals of Idaho. 

Motor Film 

'' I ""HE Story of a Gasoline Motor, a 
new educational motion picture 
film produced under the direction of 
the United States Bureau of Mines, 
Department of Commerce, in cooper- 
ation with a large industrial concern, 
is now ready for distribution. This 
three-reel film depicts all processes 
involved in the construction and oper- 
ation of a gasoline motor. 

In preparing this film many types 
of automobile engines were cut apart, 
so that every action of the working 
parts of the engine could be shown 
graphically. During the filming of 
the picture numerous large foundries 
were visited in order that views might 
be shown of the actual forging of the 
engine parts. 

This picture should not only prove 
of value to the automobile mechanic, 
but it has been made in such a man- 
ner as to be readily understood by 
the layman and the grammar school 

Copies of this film on 35 mm. may 
be obtained for purposes of exhibition 
from the Pittsburgh Experiment Sta- 
tion of the United States Bureau of 
Mines, Pittsburgh, Pa. No charge is 
made for the use of the film, but the 
exhibitor is asked to pay transporta- 
tion costs. 

ItIO'%'aC IH/%I«ER9 


The Latest Thrill in Amateur Movies 

you KNEW they would come, of 
course . . . some day. 

They are here . . . NOW. Home talkies, 
the latest thrill in the professional movie 
world, made available for amateur use in 
the home. 

Cine-Tone, by DeVry, provides perfectly 
synchronized pictures and sound. Cine- 
Tone sings . . . plays . . . talks . . . acts . . . with 
results equal to fine theater productions. 

Everything is in a single, compact, de- 
pendable unit, as easy to operate as a 16 
mm. ordinary projector. Cine -Tone may 
be used separately for ordinary films, or 
the outfit may be used as a phonograph 
with any electrically produced records. 
Sound reproduction is by the "electric 
pick-up" process. 

Weekly releases of synchronized films 
and records assure variety and interest of 
program. Complete, with electrical con- 
nections to radio loud speaker, Cine-Tone 
costs but $250, including case. 

By all means see and hear Cine -Tone. 
Your DeVry dealer will gladly demonstrate 
it. If you do not know his name, write 
us for the complete information. 


1111 Center St., Chicago, III., U.S.A. 





The Amateur Title Maker Will Find a Use 

for the Beautiful Art Background on the Facing 

Page, Photographed by H. V. Schieren 

and Titled by Ralph R. Eno. 


(Continued from page 108) 

carded later. So I took the titles as 
my first job. As I cut them apart 
I made an individual roll of each title, 
held by a rubber band, and, consult- 
ing my continuity sheet, hung each 
on its proper pin on the film rack. 

Then came the job of cutting the 
scenes apart. Tucked away in a corner 
of my desk was a punch I had bought 
when I needed to put some loose 
sheets in a binder. Once more the 
projector was threaded and started 
but whenever a scene was ended the 
machine was stopped and a punch 
mark put in the edge of the film. This 
made locating the cuts an easy matter 
when re-winding, for the punch mark 
made an unmistakable signal as it 
passed through the fingers. 

To make a flange for rewinding, a 
spool was found and the thread dis- 
carded. With a hack saw a groove 
was cut lengthwise of the spool and 
finally the spool cut crossways in two 
parts. There were now two pieces of 
spool, each with a flange about a 
quarter of an inch high on one end. 
By winding a rubber band around the 
pin of the rewind, the spool was 
made to fit snug. The end of the film 
was slipped into the slot of the spool 
and whenever a punch mark reached 
my fingers, the re-wind was given a 
sharp turn in the reverse direction. 
This loosened the rolled film at the 
center, so it slipped easily from the 
spool. After cutting, the number of 
each scene was checked by reference 
to the continuity sheet and then hung 
on the rack. The rack filled rapidly 
and when all the film was cut, each 
scene was in its proper order. It 
only remained to splice them to- 

Somehow or other. I got the idea 
of assembling the film backward. 
The last sub-title, '"Finis" was the first 
to go on the reel and then each scene 
was taken in reverse order and spliced 
in. This proved to be very convenient 
as that part of the film which was 

nieginning in February 

The World-Famous 
Our Gang Comedies 

regain Available as 
T^athegrams Subjects 

1 HE pictorial adventures of 
those supreme "kid" funsters, Our Gang, are once more 
made available by Pathegrams to possessors of l6-mm. 

Beginning in February, a 
number of Our Gang Comedies will be released monthly. 
The hilarious antics of Farina, Mickey, Little Mary and 
the rest of the world-famous Gang need no introduction 
to lovers of clean motion picture entertainment ... In 
addition to these sparkling featurettes, a varied and 
colorful program of^ Pathegrams will be released every 
month, as in the past. 





JrlVE unique l6-mm. gems ap- 
pear on the February Pathegrams release-schedule. Be- 
sides three Our Gang Comedies, there is a stimulating 
subject taken from the celebrated Pathe Review, and a 
special treat in the form of a Harry Langdon comedy. 


Kintous Our Gang Comedy in which Farina's goat-like fondness for swallow - 
ing bottles and pins, the Gang's new football team, and a hospital ward are 
happily mingled. No. 7002—400 feet— S30.00 


Another Our Gang comedy in which Mickey, finding his thoughts turning to 
adorable little Mary, adopts the tactics of his sister's beau in courting her. 

No. 7003—400 feet— $30.00 





secret society. 

No. 7004—400 feet— $30.00 


A fascinating pictorial travelogue through ou 
eluding Wall Street. Niagara Falls, the Moi 
Taken from a popular Pathe Review feature. 


Harry Langdon's inimitable comedy of a hen 

a cluster of beach beauties. 

countr>' s chief show-spots, in- 

non Temple and many others. 

No. 510—100 feet— S7. 50 


FEBRK;;%RY 1929 

No Matter 

Whether you are a dyed-in-the- 
wool home movie fan or just 
rect.ved your projector this 
Christmas — 

We want you to 
try a KOLORAY 

In your own home, on your own 
projector, with your own pictures, 
and see for yourself the startling 
new beauty this color filter gives 
to your plain black and white 

Kodacolor Users 

Who will find their pictures 
made on regular film lacking in 
interest unless they add color to 
them also with KOLORAY. 

On or OS£ 
in 30 Seconds 

You can attach a KOLORAY to 
your projeaor in 30 seconds and 
show all your pictures in beauti- 
ful single or two-toned color 

We will send a 
on Trial 

Put it on, and if the effects will 
not arouse the enthusiasm of the 
most hardened amateurs, send it 
back and we will refund your 

KOLORAY is made for Koda- 
scope Models A, B and C, Filmo 
and DeVry I6mm. projectors, 
and sells for $7.50. Please be sure 
to specify the kind and model of 
your projector when ordering. 
(Remember money back if not 
satisfied anytime within fifteen 

Descriptive literature on request. 

Cutler Building - Rochester, N. Y. 


H ^^ "Professional color effects H 

^^ ^^ for fiome movies" ^^ 

finished was always ready to project 
w ithout re-winding. And you will find 
that no matter how familiar with a 
film you may be, there will come 
times in editing when you will have 
to run a scene to decide just what 
should go in and what should be cut 
away. The punch comes in as handy 
here as it does when first cutting the 
film apart. 

If, as has been said, a play is not 
written but re-written, then a film is 
not edited but re-edited. For that 
reason it is a thankless job to try 
cutting the scenes exactly when first 
splicing the print. The thing to do 
is to get the proper continuity. Then 
project the film once more and de- 
cide on the final cuts that must be 
made. It is simply a case of proper 
selection. Again punch the film where 
other changes are to be made. Even 
after the final editing new changes 
will suggest themselves as you con- 
tinue to project the picture. It is 
my suggestion that such changes be 
made on the spot while fresh in your 
mind, instead of putting them off to 
a future day. 

Now about titles. Don't think that 
you can get along without them. That 
requires great art. Professionals have 
tried it time and again and in most 
cases the attempt has been a failure. 
Titles add to a film by making it 
understandable to any one who sees 
it. You will also find that titles now 
and then aid the continuity wonder- 
fully. They help to make the transi- 
tion from one scene to another or 
from a long shot to a close-up smooth 
and natural. Where they should be 
cut in is a matter to which an entire 
article could be devoted, so the sub- 
ject will be omitted here. 

And now the film is finished. You 
have your print ready to run at any 
time and. if you use negative film 
in the camera as I do, by matching 
your negative to the cut print, dupli- 
cates can be made at any time, which 
will be just like the first print. If 
you are using reversible film project 
it as few times during editing as pos- 
sible and as soon as editing is fin- 
ished have a "dupe" made for a good 
"dupe" can only be made from a good 

Now just what has been gained by 
this careful editing? First you have 
the satisfaction of doing a good job 
and getting the best possible results 
from your efforts. You have a film 
that needs no alibi when you throw 
it on the screen. Also you have tripled 
the fun to be gained from movie- 

For Taking 
Interesting "Shots" 

. . . distant scenes 
and indoor subjects 

'T'O increase your movie making 
possibilities — to capture fascina- 
ting distant scenes in close-up pro- 
portions . . . here is the equipment 
you will need. 

Anf.4.5 telephoto lens that gives 
you clear, sharp close-up pictures 
of birds, animals, sports and many 
other subjects or scenes in the 
distance. It can be used interchange- 
ably with the /. 1. 9 lens and is 
priced remarkably low. 

To make movies indoors at any 
time of day or night, Kodalites, in- 
expensive yet highly capable light- 
ing devices that give the necessary 
illumination for takingmoviesof the 
children at play in the nursery, fam- 
ily parties and other indoor events. 
Increase your outfit's useful- 
ness. Visit either of our stores 
for suggestions 

Eastman Kodak Stores, Inc. 

The Kodak Corner— Madison at 45th 
235 West 23rd, near 7th Ave. 
New York City 

Let Us Edit and 
Title Your Films 

UO you have to explain your 
movies as they flash on the 
screen before your guests? Or, 
do neatly lettered, nicely 
spaced titles tell them the 
story as they watch? 

Do you intersperse your ex- 
planations with an apology, 
here and there, for a badly ex- 
posed scene, a sudden move- 
ment of the camera, or a bit 
of edge or end fog? Or, do 
your pictures progress 
smoothly without distracting 
interruptions, with each 
scene in its proper sequence, 
all evidences of photographic 
errors removed through 
proper editing? 

Careful editing and titling 
makes of the average picture 
a story of logic and beauty. 
Our work is done by experts 
who understand what the 
amateur wants and who 
know how to secure it. 

Phone or write us, or come 
in — and bring your reels and 
your problems with you. 


Editing and Titling Service, 


Room 917 350 Madison Ave., 

New York 

M O «' ■ E »■/%■« E R S 


{Continued from page 97) 

a large semi-circular crowd. I 
learned that they were waiting for 
the exit of none other than the Dic- 
tator. I started to walk boldly across 
to the door, from which the mob was 
being held back, to join a small 
group of professional cameramen — 
with certificates of permission. Three 
steps from the semi-circle a stern, 
black-shirted Fascist guard stopped 
me, warning me back with an ominous 
look in his bushy-browed eyes. He 
didn't see the camera concealed under 
my overcoat. So, sneaking back, des- 
perately I sighted the camera over 
the heads of a group of taxi drivers, 
then intent upon the commanding 
figure of Mussolini descending the 
steps of the Parliament building. 
Naturally enough, I shuddered 
through fear of being detected, held 
for treason, and forced to relinquish 
camera and films. You don't need a 
magnifying glass nor a vivid imagina- 
tion to see that Italy's Premier is in 
that picture. 

Aside from a few old landmarks 
in Scotland and Ireland the students 
were of most photographic interest. 
Sport pictures of an intercollegiate 
athletic meet featuring Rugby appeal 
to our American college audiences. 
In a humorous scene, an Aberdeen 
bartender was shown dealing out 
Scotch whiskey to my eager col- 
leagues from a colossal liquor bottle 
of about two gallons' capacity. This 
scene, along with Guinesses brewery 
in Dublin, the largest beer factory in 
the world, strikes a responsive note 
in the minds of most people to whom 
the pictures have been shown. 

Our interest while crossing the 
United States on the last lap of our 
journey lay mainly in presentation of 
the pictures taken abroad. Illus- 
trated lectures, in addition to the de- 
bates, were given before the schools 
we met. Programs were also arranged 
throughout Oregon. 

To make amateur travel photog- 
raphy pay dividends, as in cinema 
plays, one must sacrifice more of 
time, energy, and patience than that 
demanded by the ordinary incon- 
veniences of touring. Long, technical 
preparation is decidedly not a pre- 
requisite for satisfactory results, else 
ours would not have even been worth 
throwing overboard. The enjoy- 
ment is lasting, for experiences can 
be lived over again simply by pro- 
jecting the films. 

Possibilities of thus emancipating 
the stay-at-home population from the 
unpleasant shackles of extended 
monologues are scarcely touched. 
Why not tell our travel experiences 
on the motion picture screen? 


For standard and 16 mm movie cameras. 
Zeiss Tessar £2.7 and f3.5 Tele-Tessar £6.3 
Finders Filters Sun-shades 


485 Fifth Ave., New York 
728 So. Hill SL, Los Angeles 


The Automatic Exposure Meter jar Cinematography 

One look through this new Ginophot shows the correct 
stop to use with the 

Cine Kodak, Victor, De Vry, Baby Cine, Etc. 

An Unsolicited Testimonial 

County High School for Boys, 

Altrincham, 19th Nov., 1928 

Dear Sirs — I am so pleased with the 
Cinophot Meter we bought from you in 
May that I think some acknowledgment is 
due. Under my direction the School made 
its third annual film this year, and as we had 
undertaken to make a film for the Scout 
Association, for which five thousand feet of 
film had to be exposed, you will understand 
our responsibility. We used the Cinophot 
tor every exposure, under every possible 
condition from ship scenes, to fire scenes in 
a studio, and we got first class results. We 
never scrapped a foot on account of faulty 
exposure. I do most heartily recommend 
the Cinophot to film amateurs, and if they 
want to test my claim they should see our 
MIND."— Yours faithfully, (signed) 


Cinematography is Extravagant Without a Cinophot 
Price, with Leather Case and Instruction Book, $12.50 


DREM PRODUCTS CORP., 152 W. 42d St., New York, N. Y. 

■nEBRW/«IKY 1929 





irilliancv and 
Lenses are fa 
,n so prevalen 
ngly small b 
turret model c 





4" FO( 


e adjustable 
ine mount 

Into or I' I 

ggest you CO 
and compari 



Added to the 




lor jene 
rself >vi 
ir dealer 

1 In umqu 

A For Fi 

ral carrying coo 

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before purchasi 


s with 

which Schneider 
sence of distorti 
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special appeal to 


5 is an ab- 
makes a 

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EXTREMEL'i illustration shows a reading for aperture F:3.5 at 

ACCURATE normal speed. Apertures on scale from F:1.4 to 

o F:64. 

UTTERLY An equally simple model applicable to all still 

SIMPLE picture cameras for $7.50. 


Sale Licensed by 
Drem Prod. Corp. 

Ramstein-Optochrome Optical Glass Filters 

Graduated Sky-Filters bring out the do 
your pictures — no additional exposure 
only sky-61ter made of optical glass, g 
and polished and that contains no gelat 
Sole A gent for 


cement. No equipment, amateur or professional 
is complete %vithout a Ramstein-Optochrome. 
Fit any lens — send diameter. Send for Catalog 
and Prices on Graduated and the New SIM- 

136 Liberty St. 
v. l'. C. 

Producing "TITLES FOR 14 YEARS" for 



245 "West 55«i Street 





and others 


Specially Priii ted 

16mm. TITLES 25c. 


For eight word maximum — Extra words, 3 cents — Minimum order, $1.00 

HAND LETTERED TITLES with border— up to 12 words 60 cents 

(Extra words, 5 cents — Minimum order, $1.20) 

ART TITLES — Hand Lettering — up to 12 words $1.50 

100 Appropriate Paintings in Pastel to Fit any Title. (Extra words, 5 cents) 


EDITI\G - - - TITLE fTRITiyC - - - SPLICr\G 

nrWO beautiful art "The End" titles — hand-lettering — animated through- 
out with art backgrounds — both different $1.00 

H'e .4re Supplying .411 New York Leading Stores with Our Title Service 


[Continued from page 83) 
camouflage and concealed ammuni- 
tion. If it showed articles on the 
ground in deep relief, it was real. 

The wider apart the photos were 
taken, the more depth the objects on 
the ground appeared to have. A box 
of groceries would look as tall as a 
skyscraper if viewed by a human 
being with eyes 100 feet apart. Inci- 
dentally, this accounts for the fact 
that some people have so much better 
sense of depth than others, and that 
they perceive motions so much quick- 
er than others. It is a fact of obser- 
vation that people successfully en- 
gaged in directing motion pictures 
have eyes much wider apart than the 
axerage person. Theatrical people 
also need wide-apart eyes, and so do 
many mechanics. 

Because we perceive a motion in 
three dimensions we grasp its import 
far more rapidly than we would if 
that same motion were seen through 
one eye only. And because the cam- 
era has only one eye, it cannot get 
that real-life sense of depth. What is 
lacking in depth must be made up 
for in time: hence the necessity for 
verv thorough and S-L-O-W action 
by everv person before the camera, 
particularly in those minor motions 
of the hands which are so likely to 
escape notice unless done S-L-O-W- 


[Continued from page 105) 
familiar with them all, and their ef- 
fect upon the sensitive film, he will 
be far better prepared to operate his 
motion camera to advantage — espec- 
ially in unusual situations not cov- 
ered bv the instruction-book. Is it 
not better to have a practical know- 
ledge of principles instead of merely 
the ability to make the mechanism 
start and stop according to direc- 
tions? Oh yes. there will be those 
who will point to this and that one as 
a successful cinematographer who 
knows nothing about the principles 
of exposure. He points the camera, 
presses the button and behold, a 
perfect film. In fair weather and in 
good light such things are possible. 
Is the same thing always true when 
pictures are made indoors, in deep 
shade, at sunrise or at sunset, in the 
rain or by artificial light? 

Then, there is the matter of devel- 
oping the film and producing a good 
negative. Some one will immediately 
remind me that most amateur motion- 
picture films of the 16mm. size are 
photo-finished by the manufactur- 
ers: and a similar thing is true for 
those amateurs who use cameras 
which employ the standard-size film, 
usually developed by professional 

M O -%' ■ E 

I /% 1^ E R S 

film-laboratories. In short, why men- 
tion developing at all in connection 
with present-day amateur motion- 
pictures? What amateur would 
bother to do the finishing of his ex- 
posed films? I may be all wrong, and 
I shall be glad to be corrected in ten 
years' time; but I venture to predict 
that within a few years there will be 
many individual, amateur-size film- 
developing outfits which will prove 
to be as popular as the developing 
tanks now in use for plates, roll-films 
and filnipacks. These motion-picture 
developing outfits will be obtainable 
to meet all requirements of size of 
film and purse. If this proves to be 
true, and I think it will, the mastery 
of developing a roll of film from the 
still camera will prove to be of great 
value. After all, the motion-picture 
film is nothing more nor less than a 
very long still camera film. The de- 
veloping solutions, the fixing-bath 
and the washing-process are the same 
with slight variations due to the phy- 
sical differences of the films and their 
emulsions. The developing of ama- 
teur motion-picture film by the ama- 
teur himself will be no more difficult 
than developing a long still camera 
film. Equipment will be so compact 
that it can be done at home or in the 
darkroom as with still camera film. 
There is one outfit on the market now 
which is said to be excellent for the 
amateur to use. 

Virtually the same thing can be 
said of printing, although positive 
film is used to receive the image, in- 
stead of paper as in the case of the 
still camera. The wise amateur who 
is well grounded in the process be- 
cause of thorough training obtained 
through the use of a still camera 
will find the way easier to travel when 
he prints his first movie reel. 

In this article it has been my desire 
to go on record as being very enthus- 
iastic over amateur cinematography 
in all its branches and its splendid 
opportunity for entertainment, in- 
struction and practical service. Never- 
theless, still photography deserves its 
full share of attention yet as the best 
possible training school for the cam- 
eraman. Admitting all the variations 
in equipment, problems and effici- 
ency in these two great branches of 
photography, they are still very close 
to each other. In fact, just now, each 
needs the other for the greatest suc- 
cess of photography in art, science 
and industry. One supplements the 
other and makes possible the success 
of each. Again let me say that it is 
not, and should not be, a case of 
choosing one or the other exclusively; 
but rather it should be the full real- 
ization and promotion of the very best 
that each has to offer for the better- 
ment and the progress of mankind. 



980 Hudson Ave.. Rochester, N. Y. 

Manufacturers of Quality Photographic Lenses and Shutters since 1899. 

Y- E-E-S . . . 

W.e.1.1 .... perhaps there are a FEW dealers 
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Uh . . Inn . . hm , . h , . . 

And they haven't the slightest idea what that sec- 
tion could do for 'em! 

F'r Instance . . . 

why should Mr. Carl R. Frey of Utica drop us a 
line . . . just casually . . . like that ... to assure us 
of more classified business BECAUSE "We could 
have sold — many times — the articles listed. We 
consider this an excellent medium for the dis- 
posal of goods." 

He's one dealer who's learned something through 
the advertising about the "coverage" of MOVIE 
MAKERS... too! 

W^hy not YOU? WeHl tell you more about it 
if you ask us .... 


FEBICU/%RY 1929 

Film Reels of Travel 

Edited and Titled 

Burton Holmes 

17.50 per 100 ft. Reel 16 mm. 

Mo. 32— Rollins into Rio 

'4o. 33 — The Great Cataracts of Iguassu 

•io. 34— Kauai— The Garden Island of Hawaii 

<o. 35— Surfing— The Famous Sport of Waikiki 

^Io. 36— Hawaiian Shores 

fo. 37— Paris from a Motor 

■Jo. 38— Nine Glories of Paris 

<io. 39— A Trip on the Seine 

•lo. 40— The "Great Waters" of Versailles 

^Io. 41— Paris Markets 

>Io. 42— Cafe Life in Paris 

Jo. 43— The New York Way Called Broad 

Jo. 44— Fifth Avenue and the Forties 

Jo. 45 — Canals and Streets of Amsterdam 

Jo. 46 — Diamond Cutters of Amsterdam 

io. 47— Going to Volendam 

Jo. 48— The Cheese Market of Alkmaar 

Jo. 49 — Fjords of Norway 

Jo. 50 — Yosemite Vistas 

Jo. 51— Waterfalls of the Yosemite 

Jo. 52— Reykjavik, Capital of Iceland 

Jo. 53— Down the Danube 

Jo. 54 — The Lake of Lucerne 

Jo. 55 — Alpine Vistas from the Zugspitze 

Jo. 56 — Picturesque Salzburg 

Jo. 57— Up-to-date Alpinism 

Jo. 58 — Glimpses of Vienna 

Jo. 59— A Cloud-Land Fantasy 

Jo. 60— The City of Algiers 

Jo. 61 — Teak Logging with Elephants 

Jo. 62 — Canals of Venice 

Jo. 63 — Stones of Venice 

Jo. 64 — Two Ends of a Rope 

Jo. 65 — Cocoons to Kimono 

Jo. 66 — The Damascus Gate 

Jo. 67— Crossing the Equator 

Jo. 68— Deck Sports in the Celebes Sea 

Jo. 69— The Gorge of Pagsanjan 

Jo. 70— Alexandria 

'o. 71 — Real Streets of Cairo 

lo. 72— Bazaars of Cairo 

lo. 73 — Suburbs of Cairo 

'o. 74 — The Road to the Pyramids 

Jo. 75— Calling on the Sphinx 

Jo. 76— The Pyramids 

Jo. 77— The Nile Bridge 

Jo. 78— The Upper Nile 

Jo. 79— Mecca Pilgrimage 

Jo. 80— Estes Park, Colorado 

Jo. 81 — Rocky Mountain National Park 

lo. 82 — Yellowstone Park Revisited 

See Your Dealer 
or Send for Complete Catalog 


nplete motion picture 
amateurs and profes- 

Burton Holmes Lectures, Inc. 

7510 N. Ashland Ave., Chicago 


(Continued from page 101) 

on the program of their recent pre- 
sentation of The Fast Male. A short 
comedy involving two characters was 
produced, one of these appearing on 
the screen and expressing himself in 
sub-titles, the other appearing in per- 
son and sustaining his part of the dia- 
logue vocally. Whether or not this is 
intended as a satire on the incidental 
talking sequences of the professional 
motion picture is not known. Another 
short subject featured on the same pro- 
gram was a slow motion film, made 
up of the highlights of the last foot- 
ball season. 

fl Kenneth E. Nettleton, president of 
the Motion Picture Club of New Ha- 
ven, Conn., has been selected as the 
fifth judge for the New Haven ama- 
teur film competition. Mr. Nettleton, 
as a pioneer in the amateur club move- 
ment and an amateur technician of ex- 
ceptional ability, will bring to the 
jury a fine understanding of what con- 
stitutes cinematic art. 


Scots Organize 

'X'HE former Northern Premier Mo- 
tion Picture Club of Glasgow, 
Scotland, has been reorganized as the 
Scottish Amateur Cinematographers 
Association, extending the scope of 
the club's activities. On reorganiza- 
tion, R. Louis Jay was selected as 
president, H. B. Dunn, treasurer and 
Miss M. C. Auld, secretary. The club 
is altering its constitution to fit its new 
range of activities and will probably 
consolidate other Scottish amateur 

Tyneside Expands 

Tyneside Amateur Motion Pic- 
ture Association, Newcastle-on-Tyne, 
is under way and plans are being laid 
for this year's work. This group has 
recently purchased additional equip- 
ment to facilitate production. James 
B. Mason is the club's new secretary. 

Novel Settings 
informal British amateur movie- 
making group, has lately finished pro- 
duction of a comedy-drama House 
Yourself, based on a story written 
by Leslie Wood and scenarized by 
Lupu Wolf. The script called for a 
deal of shooting on half-built houses 
as sets, hence permission was asked 
and secured to film in and around a 
new garden city building project near 
London. Pan Guest directed and pho- 
tographed the production, the cast in- 
cluding Louise Johnston, E. R. Bailey, 


^^verything Known in J^otionTictures" 



Complete editing and titling I 
>r stand- f 
ard.) Cinematography. 


I 2540 Park Ave. CAdillac 5260 1 



: Mm. FIjrc. shuii'iiiK Dcta^hahlc Handle 

Light a Meteor Flare (Powerful Fire- 
work Torch) and take a inovie of the 
party — no equipment necessary. The 
same flare the professionals use. Five 
sizes, '/j, 1, 2, 3 and 4 minutes of light. 
Especially for outdoors. Also electrical 
flares fired by a flash-light battery, for 
special work. Several flares may be 
tired simultaneously. 

John G. Marshall 

Meteor Photo Chemicals 
1752 Atlantic Ave., Brooklyn, N. Y. 


Cicely Moore, Bob Sturgess, Ray 
Sturgess and Leslie Wood. Produc- 
tion plans have been made for a sec- 
ond picture. The Shadows of Lime- 
house, the script calling for locations 
in Limehouse and truck work in the 
vicinity of the Strand and Scotland 
Yard. A number of interiors will be 
shot on an open air stage. Apex Pic- 
tures publishes a monthly club news 

Varied Programs 

LATE programs of the Sheffield 
branch of the Amateur Cinema- 
tographers Association included 
screening The Crazy Pavement Artist, 
filmed by Donald Munro, cinematic 
impressions of Venice, recorded by 
A. D. Hobson, who accompanied the 
screen presentation with a talk on the 
difficulties of filming in the Italian am- 
phibian metropolis and The Mystery 
of the Haunted Manor, a thrilling 
hair-raiser produced by Robert F. Un- 
win. Various cine meters have been 
demonstrated and discussed and a 
scenario, His Best Friend, has been 
accepted for early production. Ar- 
rangements have been made for the 
presentation of members' films before 
the Sheffield and Hallamshire still 
photographic societies and an oppor- 
tunity has been arranged for the rep- 
resentatives of the two branches of 
photography to talk over their com- 
mon technique. 


{Continued from page 84) 

der the direction of Mr. Winans, is 
entitled Get the News and is a picturi- 
zation of the many activities of a news- 
paper, designed to familiarize those 
seeing it with the complex workings 
of the great Union organization. 
Opening with a train wreck it will fol- 
low this news event from its inception 
through the various steps of news pro- 
duction until it appears in the head- 
lines on the printed pages of an edi- 
tion of the Union. 

Another novel plan which will be 
adopted in the near future will be the 
production of a periodically released 
news reel. A movie cameraman will 
accompany staff photographers and 
reporters on all news stories which 
have interesting or unusual film pos- 
sibilities and these will be compiled 
into timely reels and added to the 
regular free service program along 
with other Union films. 

With such a rapid evolution of this 
newspaper-film plan already recorded 
by the Union a wide vista of future 
possibilities suggests itself and it is 
to be expected that many other news- 
papers will follow this lead in utiliz- 
ing, ever more widely, the growing 
power of their sister medium. 

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raphy. With Panchromatic 
Film this lens became a per- 
fect and natural co-worker. 
With Kodacolor the Plasmat 
demonstrates fully its more 
complete correction for the 
colors of the spectrum. 

You view your 
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about ten times. 

is slipped into place 


Hugo Meyer 



No more scales — measure- 
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Price Complete $125 

The complete set comes packed in a con- 
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FEBRI.i/%R'W 1929 


Your Films 
Professional Finish 




I CAN supply you with 
titles that conform to 
the most modern and ar- 
tistic trends in profes- 
sional pictures. Titles that 
are distinctive — above the 
commonplace. Yet at no 
higher cost. Art titles, 
humorous sketches, too. 
Also an editing service 
you will find exceptional. 

Hrite today for Samples and Prices 

P. Ingemann Sekaer 

1472 Broadway, New York 

Sche ihe's 

SINCE 1916 
Photo-Filter Specialties 

\l. Filur, produce Fog Scenes— Moonlight 

My Fillers ^^^ j^.^j^^ Effects— Anyu-herc— 

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Ask your dealer, or write to 



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Easy rules furnished. Comply 
OutfiraSS.SSup. Job presses $11 u 
Print for Others, Bib. Proms. Sold 

Company. W-48, Me 


We specialise in the developing and printing of 16 
mm. negative and use the late type positive contact 
HUTTON 16 mm. Printers. A trial will convince 
you on your own screen as to our quality. 

We make prompt .shipment of raiu negative 

108 N. Dearborn St. Chicago, 111. 




Designed for 

use in the 
but the reverse 
side lists the 
correct stops for 
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It has been 

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(.Continued from page 88) 
shot but must often work under very 
adverse light conditions. The faster 
the lens the amateur uses, the greater 
is his ability to obtain more and un- 
usual pictures. At the same time, bear 
in mind that the faster the lens the 
more necessity there is for accurate 
focusing. The speed of lenses faster 
than / 3.5, compared with the stop 
/ 3.5, is as follows: an / 2.7 is one and 
six-tenths times faster than an / 3.5; 
an / 2, three times; an / 1.9, three and 
three-tenths times; an / 1.8, three and 
seven-tenths times, and an / 1.5, five 
and four-tenths times. One lens, at 
least / 2 or faster, should be included 
in the amateur's kit for special work. 
Lenses between / 2 and / 3.5 can be 
used for general work. 

The next lens an amateur should 
consider is a wide angle lens. There 
are certain occasions when one wishes 
to include a number of objects in a 
scene at short range. Here the one 
inch lens will not serve. Either a fif- 
teen or eighteen millimeter lens will 
increase the angle from twenty-eight 
degrees to around thirty-five or forty 

The next lens in line is a telephoto 
for general telephoto work. Either a 
three or a four inch lens will serve in 
this capacity. With either one, the 
magnification is not too great for me- 
dium distant objects nor too little for 
objects further away. 

Finally, a six inch lens will be use- 
ful on special occasions but this tele- 
photo is used more for special work, 
such as Avild animal photography, 
where it is impossible to get nearer to 
the object than a few hundred yards, 
and the magnification will be six times 
that of the one inch lens. For greater 
magnifications, such as eight, ten or 
twelve times, the lenses for 16 mm. 
cameras must be ordered specially. 

To sum up, a general lens kit should 
contain a one inch / 3.5. / 2.7 or / 2.5: 
a speed lens: a wide angle lens and 
one medium length telephoto. 

Editing A id 

T HAVE noted with interest the vari- 
■'- ous methods devised by ingenious 
amateurs for marking film being run 
through the projector to edit out bad 
spots or indicate points for titles. Per- 
sonally. I use a cheap paper punch 
with a triangular die. the same as is 
used for punching transfers and tic- 
kets. In projecting film I watch for 
the "rotten" spots, or just the right 
places for the titles or cut backs, stop 
the projector and deftly punch out a 
triangular piece from the edge of the 
film. This mark of identification is 
easy to find — in fact it cannot be 
missed, even when rewinding film rap- 
idly — and I find it a great aid to 
speedy editing. — R. K. Winans. 


film of your product in 
in foreign lands is 
the ideal nucleus for a 
real educational advertis- 
ing film 


Units are now in the Mediterranean 
and the West Indies ready to make 
your films in those sections. 

Travel Movie Films, Inc. 




By Dr. Co.nstantin Dumbrava 

How Btiiig Edited for 16 mm. film by 


105 West 40th Street. New York City 

' My^ 1000 w.vtt 


Sufficient power, without 
for Close-ups with 3.5f, 
Groups with 1.9f lens. 

Use MovKhtc for imiform, 
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Hand Model 

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Nickel Stand, S2.50; 1000 
G. E. Lamp $6.50 

t yo\n dealers or postpaid. 

Northeast Products Company 
Tewksbury, Massachusetts 





Apply to the 

Y. M. C. A. Motion Picture Bureau 

120 W. 41st St. 1111 Center St. 

New York City Chicago, III. 

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yet anothep^^^ 


With ^^extra''' quality car- 
ried to the last detail 
You have seen many 
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been cut to add a margin 
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Truvision screen! Wood- 
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Springs — extra size. 
Shade roller — top-of-the- 
list quality. Screen mater- 
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waterproof, Rooler 
mounting — built-in 
T r ans portation- proof . 
Edges near screen surface 
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wear. Screws, Bolts — spe- 
daily machined for this 
screen, and so on through 
every last detail. 


An engineering accomplishment 
worthy of the Truvision Surface 

A screen that is designed to match the 
qualities you demand of a camera and 

COMPACTNESS: Strong thin parts in 
place of bulk, enclosed working parts, 
snug fit design. LIGHTNESS: Tough 
fibre case, all wooden parts. APPEAR- 
ANCE: All black finish, exposed metal 
screws of gunmetal. EASE OF HAND- 
LING: Automatic release, spring tension 
acts for opening and closing (both 
smooth operations with just one finger). 
give rigidity to frame and window-pane 
smoothness to screen surface, oversize 
springs (no forcing, no sluggishness). 
backing allows no loss of light. (Special 
DuPont waterproof fabric), and the one 
and only Truvision Snrfacel 

With Prices still held 
down to the minimum 
Many products are built 
down to a price; others 
are priced up to a qual- 
ity. Truvision Type C 
was built to a quality- 
standard, then prices were 
computed at quantity pro- 
duction scale. 

1-C 2-C 

22 x30" 30 x40 

$17.50 $25 

(TVo lbs.) (lOii lbs.) 

39 x52 


(131 2 lbs.) 

Truvision Type C is the 
lightest in weight of all 
portable bended screens. 

Truvision price scale is 
lower than other beaded 

By all means visit your dealer and see this screen. Prepare yourself for nn example of 
craftsmanship and engineering skill o( the highest order — you will not be disappoinred. 

(I rile for Type C Booklet 



FE^ICU/miCY 1929 




(Continued from page 87) 

volumes to the country bred men who 
see it, and the situation is self ex- 
planatory to others. 

Quick thinking often brings results. 
One man passed an old horse in the 
last stages of decrepitude. It was too 
old and skinny to be funny. A little 
further along an old Ford had been 
abandoned beside the road. On the 
screen you see the title, "Hasbeens", 
and then a flash of the old car. The 
horse hobbles in, regards the car for 
an instant and then licks the bonnet 
in a "kiss". While it is pathetic, at 
tlie same time it s funny. 

It took twenty minutes to lead the 
horse up to the car and another ten 
minuets to beg a handful of salt from 
the farmhouse. The salt was damp- 
ened and a little of it placed on the 
bonnet on the side away from the 
camera. The horse was permitted to 
lick this up. Then the horse was 
taken just outside the camera range 
and the rest of the salt put on the 
bonnet. As he conies into the field of 
the lens a spoken word checks his 
progress for an instant but he goes on 
after the salt. All very simple, yet 
scores of people have asked how the 
horse was trained to be so natural. 

But you don't have to go into the 
country. A popular shot with one 
group shows a street gamin picking 
a cigar butt from a park walk and 
lighting it. Originally a second shot 
showed the youngster writhing on the 
grass in the throes of nausea, not too 
clearly indicated. A policeman stood 
over him. It didnt really click until 
the cinemaker went down to the city 
hospital and secured a shot of an am- 
bulance dashing out of the gate on 
its errand of mercy. Cut in between 
the two park scenes it starts a laugh 
the moment the ambulance is seen. 

Another good park shot was titled, 
"The Lawbreaker," and showed a little 
girl about four years old standing in 
front of a sign prohibiting the pluck- 
ing of flowers. A policeman fairly 
towered over her and a close-up of a 
single flower in her chubby fist was 
cut in to make the scene fully expla- 
natory. Men smile at it and women 
declare that she's a dear. 

Another amateur exhibitor has an 
effective shot of a small street urchin 
with his face glued against a bakery 
window. It was obtained without re- 
hearsal by simply promising the lad 
a dime's worth of cakes of his own 
selection. It might be mentioned that 
a rival sought to copy the idea, only 
to make a wrong selection and be met 
with, "Aw hell ! Gimme a pack of 

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which gives a 

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npHERE'S pride in the ownership of the Victor! 
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Backed by 19 years experience in the manufacture of 
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FEBRr/%R'* 1929 

'AmfHcea Picneerx^ArlliUeBuilderancl rilmlditor 

%.u€m Jm Tiifes 


Send any good usable film to us and receive an 
equally good or better one of approximately the 
same length in exchange. Include a list of all 
your pictures so you will not receive a duplicate. 
Indicate your preference: comedv, drama or edu- 
cational. Enclose ONE DOLLAR check or monev 
order for each lOn ft. reel vou send. 

702 Church St. Evanston. 111. 

Learn the Fine Points of 

Our home studv course 
in Vrojessional Motion 
Picture Photography will 
enable you to get better 
results and greater satiS' 

We have, for 19 years 
successfully taught Mo- 
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Write or call for Free illustrated book. 
10 W. 33rd St. Dept. 105. New York, N. Y. 

Now! .Mrs. J. Potter Pancake, don't 
look so cross. . . . The temptation 
to monopolize your Filmo 75 . . . 
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Filmo 75 . . . newest of the Bell & 
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as smart as Paris . . . and as precise 
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The Filmo 75 will make for you the sharpest 
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•■Filmo Headquarters lor Tourists" 

cigs". That might make a talking pic- 
ture but it was a total loss as a silent. 

The slapstick, however, seldom 
makes good in amateur reels. Try for 
more refined humor. A crying baby 
is always good for a laugh, ^\ny- 
body s baby will do but generally it 
is better to borrow a strange baby, 
even if you have your own. If you 
can get a negro baby, so much the 
better. When there is a negro colony 
in your town you can get some rich 
comedy shots, particularly in the sum- 
mer time when the picaninnies are 
running around in the streets. And 
don't forget tliat the very first comedy 
picture ever made in the United Staes 
was a darkey baby getting a bath in 
a tub of very white suds. 

One of the old standbys is to slight- 
ly smear the tips of a child's fingers 
with glue and give him a fluffy feather. 
The only trouble is that this will 
tempt you to too great a footage. 
Select the best five feet. 

Even so simple a trick as the re- 
verse is good for a laugh, and to get 
this all you have to do is turn the cam- 
era upside down. One of the earliest 
of these shots was a diver in straight 
and reverse motion, jumping in and 
out of the water. That went stale long 
ago. A tree being chopped up instead 
of down, people backing off cars in- 
stead of boarding, and similar tricks 
are good, but the best shots we have 
seen show a horde of commuters 
dashing out of the ferry gates in the 
early morning. In reverse they back 
into the gangway with equal speed. 
This is a useful stunt for a laugh if 
you get some public building with an 
imposing stairway and have a crowd 
of people backing up and down. 

A great deal can be done with 
titling and rearrangement, but don't 
copy Hollywood and go in for wise- 
cracks. Don't use "Three queens'" for 
a trio of pretty girls, or '"Two of a 
Kind " for a friend and a jackass. It is 
twenty years too late for that — maybe 
thirty. Get a title that is clever and 
witty rather than merely funny. If 
you cant think of one, wait. 

Don't run too long on one subject 
without breaking it with comedy and 
don t run the reels just as you shot 
them. Rearrange the scenes to give 
the best contrast or continuity, which- 
ever seems more desirable, and then 
slip in little human touches where 
the)' will break the monotony. 

Work for smoothness and effect. 
Make your reels so attractive that 
your friends will want to see them 
more than once. A poorly edited film 
is more of an infliction than a six- 
year-old reciting Little Drops of 
Water or her more mature sister 
wrestling with Gunga Din. 

THE W. B. & E. 


A convenient light on your Filmo 
Projector that enables you to operate 
and change your reels with plenty of 
illumination that does not attract the 
attention of or annoy your audience. 

Makes operating your projector a 


No extra wires needed. 

Just pull the switch and the Light 

is there— When and Where you 

Easily attached to your machine 
in a few minutes and projector 
can be packed away in case with* 
out detaching. 

Price $6.00 

From your Dealer or Direct 

"The Home of Motion Picture Equipment" 

Filmo Motion Picture Cameras and 


918 Chestnut St., Philadelphia, Pa. 


Titles, Editing and Cinematography 
Exclusively 16 mm. 


P. O. Box 4618 
206 Hildebrandt Bldg. Jacksonville, Florida 


The Teitel Nem Life Patented .Method 
Will Save Them 


105 West 40th St. New York City 

Motion Picture 

in all branches 



845 S. JV abash Ave. 
Chicago, Illinois 

»■ O W ■ E IM /% IC F. R » 

Making the shots is just the pre- 
liminary work. Assembling the reels 
is what marks the real cinemato- 
grapher. Keep the comedy and ar- 
rangement in mind when you are 
shooting and you'll have less trouble 
and better results in the end. 


i Continued from page 89) 

prise package for the selective ama- 
teur who may be certain |o find in 
each issue of this film periodical some- 
thing of interest. 

A recent review begins with a short 
study called, A Drama Without Ac- 
tors. This film follows a suggestion 
once made in Movie Makers — a hu- 
morous suggestion, to be sure, yet one 
full of value. Another number of this 
magazine carried the report of a col- 
lege film handled very largely in the 
same manner. This Pathe short fea- 
ture carries us through the marriage, 
honeymoon, too rapid early married 
life, quarrels and reconciliation of a 
man and woman whom we never see 
other than in photographs on tables. 
The whole tale is told in flashes of 
action or of still scenes, the entire 
dramatis personae being rice, old 
shoes, train wheels, cigaret stubs, 
bills, telegrams, etc. A close-up of a 
can-opener indicates more effectively 
than a whole chapter full of written 
story the culinary rock upon which the 
marriage bells have been cracked. 

This technique is one frequently 
employed by cartoonists and comic 
strip men. That it is new to the screen 
is true only because of the very con- 
ventional nature of most screen prod- 
ucts. Mr. Ramsaye's translation of it 
from the cartoon technique to that of 
the screen is evidence of his intelli- 
gent understanding of his position as 
a review editor. 

The other features of this particular 
review are less striking, although a 
Pathe-color study of Japanese cherry- 
blossom time is beautifully done. 

Christmas Film 
xM X sented during the Christmas 
Season a brief filming of the Adora- 
tion of the Magi which is equal, in the 
medium of the motion picture, to 
many of the best religious paintings 
and etchings. This Christmas scene 
is done with a very admirable tech- 
nique and with a restraint, dignity and 
sincerity that frankly present the mo- 
tion picture as an independent art 
form capable of setting forth, in its 
own language, the great tales of 
Christendom with as much beauty and 
artistic good taste as the older arts 
have done. 

TEBRl.^R-ft 1929 

BASS . . . 



its appointment as sales 
representative of the 


Model L 
and the ivorld renoivned 


Professional Motion Camera 

Latest catalogs and infor- 
mation on request. Your 
old camera may he traded 
in at its present cash 

Bass Camera Company 


News Reel Laboratory 

1707 Sansom St.. Phila., Pa. 
Exclusively 16 mm. Developing, Print- 
ing, Titling, Editing, Rush Service. 
Cameramen Available for All Occasions — In- 
dustrial and Medical Production 


; through Na 

llurini Water- 

loo feet. 16 mm. Price S6 00 


Fighting men. howling wolves and a frightened 
girl — real drama every loot. 

200 leet. 16 mm. Price S12.00 


Annual world famous parade passes before the 

100 feet, 16 mm. Price S6.00 



Sent postpaid upon receipt of S2.00 

Produced by 


165 E. 19l5t Street QeTeUnd, Ohii 


For Amateurs and Dealers 

Color Projection 

REPORTS of splendid results in 
projection of Kodacolor films 
with the Bell & How ell 250-watt 
projector and Kodacolor unit have 
been received by this department from 
manv amateurs employing this color 
projection combination. The addi- 
tional light generated by this new 
mechanism is said to produce screen 
results of unusual brilliancy, a factor 
greatlv appreciated by users of the 
new color process. 

Library Event 

A SALE of library subjects by the 
Kodascope Libraries. Inc.. of 33 
West 42nd Street. New York, is a 
unique departure announced for Feb- 
ruarv. Thirty-three subjects of from 
one to six reels are listed in this offer- 
ing. All are slightly used but in good 
condition, and are offered because the 
company has too many copies of these 
subjects. The price listed is S17.50 
per reel for full 4.00-foot reels. The 
sale films mav be rented for examina- 
tion at the nearest Kodascope Library 
and. if purchased, the rental will be 
credited on the sale price. 


WitJiont Negatives 

A METHOD of making 16 mm. 
positive prints from 35 mm. posi- 
tive prints without the necessity of 
first making either 35 mm. or 16 mm. 
negatives has been developed bv the 
Hollywood Movie Supply Company 
of 6058 Sunset Boulevard. Holly- 
wood. Calif., thus saving the cost of 
such negatives and materially re- 
ducing the cost of this process. Mr. 
F. K. Rockett. manager of the com- 
pany, announces to this department 
by letter that he is now prepared to 
handle tliis tvpe of work for amateurs, 
the price for which is announced 
at three cents per foot, measured on 
the length of the 35 mm. print. A 16 
mm. print from 1,000 feet of 35 mm. 
positive would therefore cost .S30.00. 
This method solves tlie reduction 
problems of those who have a positive 
35 mm. print but to whom the nega- 
tive is not available. 

Facts On Vitacolor 

COMPLETE information on the 
^ itacolor process of color 
cinematography, we are advised by 
the Dupont \ itacolor Corporation, 
can be secured by writing to the Cor- 
poration at 207 North Occidental Bou- 
levard, Los .Angeles. Calif. 

Again Available 

'T'HOSE who have been unable to 
-'- obtain Lios Actinometers of late 
will be interested to learn that Bur- 
leigh Brooks. 136 Liberty Street. New 
^ ork City, has been appointed their 
Lnited States agent. Mr. Brooks has 
been licensed to distribute them in 
this country bj- the Drem Products 
Corporation, which company previ- 
ously had obtained an injunction pre- 
venting their sale as an infringement. 

The Lios type exposure meters is 
said to measure the intensity of ex- 
isting light with a great degree of ac- 
curacy. They have been termed the 
"one movement" meter, as this is all 
the operation they require after the 
speed of the film is determined and the 
meter set accordingly. In use they are 
placed to the eve and a light and a 
dark blue field appear. 

The end of the meter is slowly 
turned until the dividing line between 
the two blue fields disappears. The 
correct exposure is then found op- 
posite the stop or diaphragm desired 
withniiS aj^y fiirf her adjustment. The 

tv'pe for motion picture work is known 
as the Photo Kino and is priced at 
.S8.00. The still photography model is 
priced at -ST. 50. 

!•■ O Y 1 E 

/« IC ■. IK S 

News From Bass 

THE famous Debrie and also 
Akeley 35 mm. cameras will have 
as a new sales representative the Bass 
Camera Company of 179 W. Madison 
Street, Chicago, 111., it is announced. 

New Printer Model 

ANEW open face dark room model 
of the Depue and Vance combi- 
nation printer with automatic light 
control board is announced this month 
by these manufacturers of 7512 INorth 
Ashland Avenue, Chicago, III. 

New Title Service 

npITLING and editing, which, it is 
-*- said, will conform to tlie most 
modern and artistic trends, is an- 
nounced this month by P. Ingemann 
Sekaer of 1472 Broadway, New York. 

The New Victor 

ONE interesting feature of the re- 
cent Victor Model 3 Projector 
is said by users to be that it secures a 
good sized picture from a fair distance 
without totally darkening the room; a 
consideration of prime importance 
where children make up the audience 
and discipline is consequently a fac- 
tor. With the regular equipment, 
which includes a 200 watt lamp, a 
good seven-foot picture can be pro- 
jected satisfactorily in a room which 
is only partially darkened. Obviously, 
then, a larger picture is possible on 

LADV \|i '1 1 I A--' M I 1 II 1^ nil (I 'MI'I I 
Sl'UKTbW UM.\,N Willi llliR 1 ILMO 



(y all the yard 
' sticks of cine- 
matography — the most useful 
and beneficial accessory for 
amateur movies. The real pro- 
fessional fade-in, fade-out, and 
dissolve effects used separately 
or in conjunction with any of 
these popular effect filters: 

SCHEIBE FOG FILTER : For moving scenes 
ground for double printed title. Creates perfect 
smoke scenes from clear daylight. 

;ct. Soft characterisation 

diffused or 


scenes taken in daytime. Sunset used for mo 

"C" Yellow A l-:-3. Coloi 
Ortho. 3, f, and 8x. 



irise. $5.00 

Red known as 

Pan. Il/iX, 3x, AVix. 


SCHEIBE DIFFUSING IRIS: Has clear-glass center cir- 
cle for main object or close-up in sharp detail, leaving balance 
ot scene diffused. $!.00 

SCHEIBE WHITE IRIS: Clear glass center vignetting to 
white glass edges. For spotlight effect to accentuate point of 
interest. $5.00 

SCHEIBE GRADUATED IRIS: Spotlight effect vignetting 
to black at edges. For forceful positive accentuation. $5.00 
glass, four degrees of density. $12.50 

MONOTONE FILTERS for Ortho., $3.50. for Pan., $5.00 
NOTE: Di/}uscd and Fog filters come in jour degrees of dens- 
ity. Ratw o/ 1/2, 1, 2, 3. The 1 and 2 are recommended /or 

over a„y le 
ent posit 

an instant without tools 
is on any camera in any 
on. Fade release operated 
in coordination with the 
jxtremely easy, yet dupli- 
.'elous effects universally 



Sole dislTibulors for Scheibe and Ramslein Fille 

"■ _^^ORP0RATI0N 




■o fil Dissolve and Filter Holder 



Toudescribe it— We'll deaign it""! ; 

106 WEST 46*" ST.rN.XC. 

Talk about beauty . . . 

Wait until you see this. Then 

you will have something to talk about. 

A feast for your eyes everytime you project it. 




of 1929" 


Exclusively filmed for Y01! with professioiml stiiilio cameras and 
then reduced. 

The ivorld's tnost famous and greatest Flower 
Festival — every ivinter sitice 1889. 

Sent postpaid upon receipt of $7.50 

100 ft. reel — for any 16 iiiiii, projeetor 
Produced by 


DEALERS — W rite or tvire for propostion 


BcKCELEr: Bcrtelcy Commercial Photo Co., 2515 

Bancroft Way. 
FniiSNo: Potter Drug Co.. 1112 Fulton St. 
HoLLVwoon: Foaler Studios. 1108 N. Lillian Way. 

HoUj-n'ood Movie Supply Co.. 6058 Sunset Blvd. 

Hollywood Music Co., Camera Dcpt., 6019 Holly- 
wood Blvd. 
Long Black: Uinstead Bros., Inc., 244 Pine St. 
Lo^ Angeles: Eastman Kodak Stores, inc., 645 S. 

Hill St 

Roland .1 Giroux, 223 W. Third St. 

John R. Gordon. 1129 S. Mariposa Ave. 

T. Iwaia Art Store, 256 E. First St. 

Leavitt Cine Picture Co., 3150 Wilshirc Blvd. 

Earl V. Lewis Co.. 226 W. 4th St. 

Marshutz Optical Co.. 518 W. 6th St. 

B. B. Nichols. 731 S. Hope St. 

Schwabachcr-Frcy Stationery Co., 734 S. Bdwy. 

Southern California Music Co., 806-8 S. Bdwy. 
Oaillakd: Davics. 3SO-14th St. 
Pasadlxa: Flag Studio. 59 E. Colorado St. 

F. W. Rccd Co.. 176 E. Colorado St. 
Pomona: Frashcrs. 15S E. Second St. 
RivEnsiDii: F W. Twogood. 700 Main St. 
San Diego: Bunnell Photo Shop, 414 E St. 

Harold E. Lutes. 958 Fifth St. 
San FaAKCisco; Eastman Kodak Stores, Inc., 545 

Market St. 

Hirsch w Kaye, 259 Grant Ave. 

Kahn er Co.. 54 Geary St. 

Leavitt Cine Picture Co.. 5 64 Market St. 

San Francisco Camera Exchange, 88 Third St. 

Schwabachcr-Frev Stationer? Co., 755 Market St. 

Trainer-Parsons Optical Co., 228 Post St. 
San Jose: Webbs Photo Supply Store, 94 S. First 

Santa Ana: Forman-Gilbert Pictures Co., 1428 W. 

Fifth St. 
Santa Bakbara: J. Walter Collinge. S E. Carrillo. 
Santa Moniga: Bcrtfaolf Photo Finishing. 1456 

Third St. 
SitKRA Madee: F. H. Hartman 6r Son. 25 N. Bald- 


Denve»: Eastman Kodak Stores, Inc., 626-16 St. 
Ford Optical Co . 1029-16 St. 
Haanslad's Camera Shop, 404-16 St. 


Budgepoet: Frit: ef Hawlcy. Inc.. 1030 Main St, 

Harvey 6r Lewis Co . 1148 Main St. 
GiiEl-NwiCH: Gaylc A. Foster. 9 Perr^Tidge Rd. 
H.»RTPORii: H. F. Dunn Motion Picture Co., 57 

Farmington Ave. 

Harvey 6f Lewis Co., 852 Main St. 

Watkins Bros.. Inc . 241 Asylum St. 
New Britain: Harvey 6f Lewis Co., 85 W. Main 

New Haven: Fritz 6f Hawley, Inc., 816 Chapel St. 

Harvey 6f Lewis Co.. 849 Chapel St. 

Rccd Film Corp.. 126 Meadow St. 
Stamford: Thamcr, Inc., 87 Atlantic St. 
Waterbury: Curtis Art Co., 25-29 W. Main St. 


Wilmington: Butlers. Inc. 415 Markcl St. 
Frost Bros., DuPont Bldg. 


Washington: Cinema Supply Co., Inc. 804 Elev- 
enth St. 

Columbia Photo Supply Co.. Inc., 1424 New York 
Ave.. N.W. 

Eastman Kodak Stores. Inc.. 607.14th St., N.W. 
Fuller (r d'.Mhcrt, Inc.. 815.10th St., N.W. 


Jacksonville: H. fr W. B. Drew Co. 

* Paramount Cine Service, 206 Hildebrandt Bldg. 
Lake Wales: Morses Photo Service. Rhodcsbilt 

Miami: Miami Photo Supply Co., 36 W. Flagler St. 

Red Cross Pharmacy, 5 1 E Flagler St. 
St. Petersblrg: Barnhills Camera Shop. 17-3rd 

St.. N. 

Robison's Camera Shop. 115-3rd St.. N. 

Strand Camera Shop, 9- 2nd St., N. 
Tampa: Tampa Photo 6f Art Supply Co., 709-11 

Twiggs St. 


Atlanta: Eastman Kodak Stores, Inc., 183 Peach- 
tree St. 
Visualisit, Inc., 21 Peachtrec Arcade. 

Rome: Macon A. Brock, 231 Broad St. 


Boise: Ballou-Latimci Co., Idaho at 9th St. 


•Chicago: Bass Camera Co., 179 W. Madison St. 
Camera Exchange. 26 Quincy St. 
Aimer Coc 6^ Co.. 78 E. Jackson Blvd. 
Aimer Coe 6f Co., 18 S. LaSalle St. 
Aimer Coe 6^ Co.. 105 N. Wabash Ave. 
Central Camera Co., 112 S. Wabash Ave. 
Eastman Kodak Stores Co., 135 N. Wabash Ave. 
Fair, The. Dcpt. 95. State. Adams 6r Dearborn 

• Fischers Camera Service. Rm. 202, 154 E. Erie 

Hartman Furniture 6f Carpet Co., Wabash at 

Adams St. 

Ideal Pictures Cxirp , 26 E. 8th St. 

Illinois Radio Appliance Co.. 1426 E. 70th St. 

W. W. Kimball Co . 506 S. Wabash Ave. 

Leonard Lvnn Co.. 502 S. Wells St. 

Lvon 6? Healy. lackson Blvd. ^ Wabash Ave. 

Post Office News Co.. 37 W. Monroe St. 

Seamans. Photo Finisher. 7052 Jeffcry Ave. 

Stanley-Warren Co.. 908 Irving Park Blvd 

Von Lengerkc 6r Antoine. 33 S. Wabash Ave. 

\X'atry tr Heidkamp. 17 W. Randolph St. 

: Haines 6P Essick Co.. 122-128 E. Willis 


Evanston; Aimer Coe 6r Co., 1645 Orrington Ave. 
• Hattstrom 6r Sanders, 702 Church St. 
Freeport: Hartman's Camera Shop, 17 S. Chicago 

Galesblrg: Illinois Camera Shop. 84 S. Prairie St. 
Moline: a. D. Webster. 1507 Fifth Ave. 
Rockpord: Johnson Photo Shop. 316 E. State St. 
Sprincpield: Camera Shop. 520 S. 5th St. 
Sterling: Ray Hart. 8-10 E. 4th St. 


Anderson: Rccd Drug Co.. 37 W. 11th St. 
Evansville: L. E DcWitt. 618 Mam St. 

Smith 6f Butterheld Co., 510 Main St. 
Fort Wavne: B.echlcr-Howard Co . 112 W. Wame 


Rogers Optical Co.. 824 Calhoun St. 
Frankport: Pathex Agency, 206 E. Walnut St. 
Indianapolis: L. S. Ayres » Co., Dcpt. 290 1. W. 

Washington St. 

H. Lieber Co., 24 W^ Washington St. 
SoiTH Bend: Ault Camera Shop, 122 S. Main St. 

Ault Camera Shop. 309 S. Michigan St. 


Cedar Rapids: Camera Shop. 220 Third Ave. 
Davenport: Eastman Kodak Stores. Inc., 518 Brady 

Des Moines: Eastman Kodak Stores. Inc., 808 

C;hild Art Ro<.ms. Cine Dcpt. 
: Rexall 6r Kodak Store. 124 E. College 


Hall Stationery Co.. 623 Kansas Ave. 


le: W. D. Gatchel fr Sons. 431 W. Wal- 

Sutcliffc Co., 

•227 S. 4th Av 


Baton Roige: Ewing, Inc.. P. O. Box 950. 

New Orleans; Eastman Kodak Stores. Inc., 213 

Baronne St. 
Shreveport: Southern Cine Co., Inc., 510 Milam 



Bangor: Francis A. Frawlcy, 104 Main St. 


Baltimore: Amateur Movic Service, 855 N. Eutaw 
Eastman Kodak Stores. Inc.. 225 Park Ave. 


Boston; Eastman Kodak Stores. Inc.. 58 Bromfield 


Eastman Kodak Stores. Inc.. Hotel Statler. 

Ralph Harris 6r Co.. 50 Bromheld St. 

Ix-cr Johnson Sporting Goods Co., 155 >\'ashing- 

ton St. 

Jordan Marsh Co. 

Andrew J. Lloyd Co.. 500 Washington St. 

Montgomery-Frost Co.. 40 Bromheld St. 

Pathescopc Co. of the N. E.. Inc.. 260 Tremont 


Pinkham if Smith Co., 15 Bromficld St. 

Solatia M. Taylor Co., 56 Bromfield St. 
Braintree; Alves Photo Shop, 349 Washington St. 
Brockton: Raymond C. Lake, 218 Main St. 
Lowell; Donaldson's, 77 Merrimack St. 
New Bedpord: 1. Arnold Wright. 7 S. 6th St. 
Pittspield: E. J. Curtis. 597 North St. 
Salem: Robb Motion Picture Service. 2141A Essex 

Sprincpield: J. E. Cheney 6f Staff. Inc.. 501 

Bridge St. 

Harvey 6r Lewis Co., 1505 Main St. 
Worcester; J. C. Freeman 6r Co.. 576 Main St. 

L. B. Wheaton, 568 Main St. 


.Ann Arbor: University Music House, 601-5 £. 

William St. 
B.AY City: Bay City Hdw. Co., Sporting Goods 

Dcpt.. 1009-15 Saginaw St. 
•Detroit: Clark Cine-Service. 2540 Park Ave. 

Detroit Camera Shop. 424 Grand River. W. 

Eastman Kodak Stores, Inc.. 1255 Washington 


Fowler if Slater Co., 156 Larned St. 

I. L. Hudson Co., Dept., 290. 

Metropolitan Motion Picture Co., 2510 Cass Ave. 

E. B, Meyrowitl. Inc.. 1516 Washington Blvd. 

United Camera Stores. Inc.. 14524 Jefferson 

Ave.. E. 
Grand Rapids: Camera Shop. Inc.. 16 Moiu-oe 

Ave.. N.W. 
Jackson: Royal Film Service. 178 Michigan 

Ave.. W. 
Lansing: Linn Camera Shop. 109 S. Washington 


Vans Cine Service. 201 American Stale Bank Bldg. 

{Continued on page 130 1 

*IO«ll «I«M.IK% 

loii^rer t)ir(jw>^ in a Mfll-iJaikenpd 
room. The inanufaclurer reports that 
anolhpr light s^ourcc a high intensity, 
special 12 volt, 9 amperes, concentrat- 
ed filament lamp, will soon be avail- 
able. This lamp, it is believed, will 
make possible projection of 16 mm. 
film in the Victor Projector up to a 
12-foot screen size at from 70 to 80 

Mechanically, the Victor Model .3 
Projector presents many novel fea- 
tures. For the first time in any pro- 
jector a four-bladed shutter is used, 
reducing flicker, even at slow speeds. 
to the vanishing point. The shutter 


Wallac. Bitr% Sh.jOtins in Air Circus with Ins DcVry 

has a large diameter, insuring a sharp 
'■cut-off" and consequently an evenly 
illuminated screen. The gate is 
slightly out of line in respect to the 
plane of the reels, causing a small 
throw-over in the loop which, it is 
claimed, further eliminates image 
vibration. The feed through the gate 
is by double claw . 

By means of a novel trip arrange- 
ment, the projector ceases to function 
if the loop is lost or if the gate is 
accidentally opened during projec- 
tion. In this way the danger of torn 
film is largely eliminated. The ma- 
chine may be operated in reverse 
without the loss of a single frame or 
without displacement of the frame- 
line. The framing device itself ope- 
rates independently of the film so that 
there is no displacement of the loop 
in framing. A fire shutter comes into 
position automatically when the ma- 
chine stops, but individual frames 
may be projected as still pictures by 
giving them the protection of a spe- 
cial heat absorbing gauze which is 
brought into position manually. 

The inevitable wear which is bound 
to affect anv intermittent cam after 
continued use is compensated for by- 
means of a single set-screw. A hand 
crank is provided which serves both 

even on Dark Days and At Niglil 

Take Perfect Interiors 


n on d 

ne» you 



y. part 


Mith fotoijtk; 

cfful light enables V..U to 
icturca right in ynur rjwn homc-- 
winter dayt and at night. The 
longed to take — the children at 
dance* , family evenu — can be 
films that yuu will want to look 
dt uvcr and over again; 61nu. too. that you will 
prize for their sheer beauty. 

Fxtolitet have no equal for compactnew. jtm' 
pluif> and light power. Fotolitea eliminate the 
^putteJlng, the sparks and the "light fright" of 
the arc lamp — yet give all the brilliance ol an arc 
an J aUo the convenience of the incandescent 
F'tolite. There are models f'^r every need. 

Because of the excep- 
tional brilliance and 
clarity of iu light. 
No. 10 has no equal 

terior lighting for 
mcnic making. It can 
be folded into a 24- 
inch space, can be 
carried anywhere in a 
room and plugged in 
on any electric light 
socket — ready for 

Exprris acclaim this amaxing mew 1.000-rd// fololite as tkr mon 
Pot^erfmt lamp of its type ever produced. 

No. 10 Fotolitc with auxiliary single or double set of No. 5 Fotolif. 
IS ideal for every home movie shot. 

No. 10 Fotolite, complete, no bulb $22.0 

No. 5B Fotolite. single. Complete, no bulb 12.00 

No. 5B Fotolite. double, complete, no bulb 20.00 

Ask Your Dealer for Demonstration of 


Mofcl Light for Current Expended 








You Are Proud to Oicn'.l 

Yes — it costs a slight bit more — Ijut. oh. 
the diflFerence in appearance — the ease 
of operation — and the superior projec- 
tion results on its "professional type 

Al your dealer/. or trrite 



For serenteen years — the uorld's largest producers of 

Motion Picture Screens. 

FEBRI.^RV 1929 

Ml^skegon-: Beckquist Photo Supply House. 885 

First St. 

Radium Photo Service. 320 W. Western Ave. 
Sagixaw: Hesse's. Genesee at Jefferson. 




Fifth St. 

E. B. Meyrowiti. Inc.. 825 Nicollet Ave. 

Sly Fox Films. 49 S. 9th St. 
Owatonna: B. W. Johnson Gift Shop. 115 W. 

Bridge St. 
St. Paul: Co-operative Photo Supply Co., 581-3 

Minnesota St. 

E. B. Mevrowitj. Inc.. 358 St. Peter St. 

Ray-Bell Films. Inc.. 817 University Ave. 

St. Mane Cigar S News Co.. 96 E. 5th St. 

Zimmerman Bros.. 380 Minnesota St. 
Wikona: Van Vranken Studio. 57 \V. Fourth St. 

Kaxs.« City: 2. T. Briggs Photographic Supply 

Co.. 916 Grand Ave. 

Z. T. Briggs Photographic Supply Co., 1006 Main 


Z. T. Briggs Photographic Supply Co.. 21 E. 

11th St. 

Hanley Photo 6? Radio Shop, 116 E. 10th St. 
St. Louis: A. S. Aloe Co., 707 Olive St. 

Erker Bros.. 608 Olive St. 

Geo. D. Fisher « Co., 915 Locust St. 

Harris Studio, 351 Paul Brown Bldg.. Ninth and 

Olive Sts. 

Hyatt's Supply Co., 417 N. Broadway. 

M. F. Rudi Drug Co., 15 at Cass Ave. 
Springfield: Hurlburt Supply Co., 315 St. Louis 



H.iSTiNGs: Carl R. Matthiesen if Co.. 713 W. 2nd 



: Eastman Kodak Stores, In 


57 Boardwalk. 
Camden: Parrish K Read. Inc., 308 Market St. 
East Orange: Edmond J. Farlie. Jr.. 45 N. 19th St. 
Newark: Anspach Bros., 838 Broad St. 

L. Bamberger if Co. 

Fireman's Drug Store. Market and Broad. 

Schaeffer Co.. 103 Halsey St. 
Plainfield: Mortimer's. 317 Park Ave. 
Trenton: Barlow's— Music, 130-132 E. State St. 


Albany: E. S. Baldwin. 52 Maiden Lane. 

F. E. Colwell Co.. 465 Broadway. 
Binghamton: a. S. Bump Co., ISO Washington St. 
Brooklyn: Geo. J. McFadden. Inc.. 202 Flatbush 

Buffalo: J. F. Adams. Inc.. 459 Washington St. 

Buffalo Photo Material Co.. 41 Niagara St. 

United Projector if Film Corp., 228 Franklin St. 

WTiinihan Bros, if Co.. Inc., 746 Elmwood Ave. 
Corning: Ecker Drug Store, 47 E. Market St. 
Haverstraw: E. H. Vandenburgh. 5 Broadway. 
Ithaca: Henry R. Head, 109 N. Aurora St. 

Treman. King if Co., care of Geo. E. Houghton. 
New York City: Abcrcrombie 6? Fitch. 45th cf 

Madison Ave. 

American News and its Subsidiaries. 131 Varick St. 

J. H. Boojer. 173 E. 60th St. 

Bremano's, 1 W. 47th St. 

City Camera Co., 110 W. 42nd St. 

Abe Cohen's Exchange, 113 Park Row. 

Columbus Photo Supply, 146 Columbus Ave. 

* Cullen, 12 Maiden Lane. 
Davega, Inc., Ill E. 42nd St. 
Davega, Inc.. 152 W. 42nd St. 

* Eastman Kodak Stores. Inc.. Madison Ave. at 
45th St. 

Eastman Kodak Stores, Inc., 255 W. 23rd St. 
H. if D. Folsom Arms Co.. 514 Broadway. 
Gall if Lembke. Inc., 7 E. 48th St. 
Frank Garfinkel, 141 Avenue A. 

* Gillette Camera Stores, Inc., 117 Park Ave. 
Gillette Camera Stores. Inc., 16 Maiden Lane. 
Gloeckner if Newby Co., 9 Church St. 

• Herbert cr Huesgen Co., 18 E. 42nd St. 
Lowe if Farley. News Stand, Times Bldg. 
Lugene. Inc., 600 Madison Ave. 

Medo Photo Supply Corp.. 323-325 W. 37th St. 

Meta Photo Supply Co., 122 Cedar St. 

E. B. Meyrowitz. Inc., 520 Fifth Ave. 

Mogull Bros., 202 5 Boston Rd. 

George Murphy. Inc., 57 E. 9th St. 

New York Camera Exchange, 109 Fulton St. 

Pickup if Brown. 41 E. 41st St. 

Rab Sons. 987 Sixth Ave. 

C. F. Ray. 296 Fifth Ave. 

Schoenig if Co., Inc., 8 E. 42nd St. 

• Stumpp 6^ Walter Co., 30 Barclay St. 
H. F. Waterman. 65 Park Row. 

• Willoughby Camera Stores, Inc.. 110 W. 32nd St. 
Olean: Don Scele Studio. 150 N. Union St. 
Poughkeepsie: Cundy Gift if Art Shop. 27 Market 

Rochester: Marks if Fuller Co.. 36 East Ave. 

Siblev, Lindsav if Curr Co., Camera Dept. 
Stax!ford-in-the-Catskills: E. S. Burtis. 
Syracuse: Clark Music Co.. 416-20 So. Salina St. 

Geo. F. Lindemer. 443 S. Salina St. 
Utica: Edwin A. Hahn. Ill Columbia St. 
Watertown: Edson E. Robinson, Inc., 111-113 

Washington St. 


Akron: Dutt Drug Co., 7 E. Exchange St. 

Pockrandt Photo Supply Co.. 16 N. Howard St. 
Canton: Ralph W. Young. 139 S. Cleveland Ave. 
CiNCi.NNATi: Ferd Wagner Co.. 113 E. 5th St. 

Huber Art Co.. 124-7th St., W. 

John L. Huber Camera Shop, 144 E. 4th St. 

Movie Makers. Inc.. 110 W. 8th St. 

L. M. Prince Co.. 108 W. 4th St. 
Cleveland: Dodd Co., 652 Huron Rd. 

Eastman Kodak Stores. Inc., 1126 Euclid Ave. 

Escar Motion Picture Service, Inc., 10008 Car- 
negie Ave. 

Fowler if Slater Co., 806 Huron Rd. 

Fowler 0^ Slater Co., 547 Euclid Ave. 

Fowler if Slater Co.. 1915 E. 9th St. 

Home Movies Co.. 1501-7 Superior Ave. 

Lyon if Healy, Inc.. 1226 Huron Rd. at Euclid 

1 Optical Co.. 735 Euclid Ave. 
Stone Film Laboratory, 8807 Hough Ave. 
Columbus: Capitol Camera Co., 7 E. Gay St. 

Columbus Photo Supply, 62 E. Gay St. 
Dayton: Dayton Camera Shop, 1 Third St.. Arcade. 
Norwood: Home Movie Service Co., 2128 Cathe- 
dral Ave. 
Salem: Butcher's Studio. 178 Jennings Ave. 

Franklin Print, if Eng. Co., 226-56 



Photo Supply Co., 525 Superior St. 
Lawrence's, 1604 Sylvania Ave. 
Leo MacDonough. 1103 Detroit Ave. 
Youncstown: Fowler if Slater Co., 7 Wick Ave. 


Oklahoma City: Roach Drug Co., 110 W. Main 

Tulsa: Camera Shoppe. 5191/. Main St.. S. 

Alvin C. Krupnick. 9 E. 6th St. 


Pendleton: Flovd A. Dennis. 

Portland: Eastman Kodak Stores, Inc.. 345 Wash- 
ington St. 

J. K. Gill Co., 5th if Stark Sts. 
Lipman Wolfe if Co.. Kodak Dept., Fifth, Wash- 
ington if Adler Sts. 


Kelly or Green, 116 W. 11th St. 


H. Hue if Son, 422 S. 15th 

James Lett Co., 225 N. 2nd St. 
Johnstown: F. W. Buchanan, 320 Walnut St. 
Lancaster: Darmstaetter's, 59 N. Queen St. 
Mt. Carmel: Stecker's Boot Store. 20 N. Oak St 
ia: Amateur Movies Corp., 132 S. !5th 

Strawbridgc if Clothier, Market. Eighth if Fil- 
bert Sts. 

John Wanamaker. Dept. 56. 
♦ Williams. Brown (f Earle. Inc., 918 Chestnut St. 
Pittsburgh: Eastman Kodak Stores. Inc., 606 Wood 


B. K. Elliott if Co.. 126-6th St. 

Joseph Home Co., Magazine Dept. 

Kaufmann's Dept. Store. Dept. 62, Fifth Ave. 

Root's Kamera E.xchange. 1 1 Fifth Ave. Arcade. 
Reading: Alexander Kagen. 641 Penn St. 
Wilkes-Barre: Ralph E. DeW'itt, 60 W. Market St. 

Zwiebel-Stenger Sales Co., 203 S. Main St. 


Newport: Rugen Typewriter if Kodak Shop, 295-7 

Thames St. 
Providence: E. P. Anthony, Inc.. 178 Angell St. 

Chas. S. Bush Co., 244-246 Wevbosset St. 

Starkweather if Williams, Inc.. 47 Exchange PI. 


Chattanooga: Englerth Photo Supply Co.. 722 

Cherry St. 
Memphis: Memphis Photo Supply Co., Hotel Pea' 

body. 86 S. 2nd St. 
N.vshville: G. C. Duty &= Co.. 420 Union St. 


Beaumont: Thames Magnolia Store, 2599 Magnolia 

Film Laboratories, 2212 Live Oak 

El Paso: Schuhmann Photo Shop, P. O. Box 861 
Ft. Worth: Chas. G. Lord Optical Co., 704 Mair 

Houston: Miller Studio, 1321 Capitol Ave. 

Star Elec. if Eng. Co., Inc.. 613 Fannin St. 
San Antonio: Fox Co.. 209 Alamo Plaza. 

E. Hertzberg Jewelry Co., Houston at St. Mary': 

Salt Laki 
Main St. 
Shiplers. 144 S. Main S 


Salt Lake Photo Supply Co.. 271 


Eastman Kodak Stores, Inc., 1020 Chestn 

Jos. C. Ferguson, Jr., 1804 Chestnut St. 


Norfolk: S. Galeski Optical Co.. 209 Granby St. 

G. L. Hall Optical Co.. 257 Granby St. 
Richmond: S. Galeski Optical Co., 737 E. Main St. 

G. L. Hall Optical Co., 418 E. Grace St. 


Seattle: Anderson Supply Co., Ill Cherrv St. 

Eastman Kodak Stores. Inc.. 1415-4th Ave. 

Lowman if Hanford Co.. 1514-3rd Ave. 

Motion Picture Service. 905 Lloyd Bldg.. Sixth 

Ave. and Stewart St. 
Spokane: Joyner Drug Co.. Howard if Riverside 

Tacoma: Shaw Supply Co., Inc. 

E. W. Stewart if Co.. 959 Commerce St. 
Yakima: Bradbury Co., 19 S. Second St. 


Wheeling: Twelfth St. Garage. 81-12th St. 


Eau Claire: Davis Photo Art Co. 
Fond du Lac: Huber Bros.. 56 S. Main St. 
Green Bai: Bethe Photo Service. 125 Main St. 
LaCrosse: Moen Photo Service. 515 Main St. 
Madison: Photoart House. 212 State St. 
Milwaukee: Boston Store, Wisconsin Ave. if 4thi 


Eastman Kodak Stores. Inc.. 427 Milwaukee St. 

Gimbel Bros., Kodak Dept., Wisconsin Ave. (f 

W. Water St. 

Photoart House of Milwaukee, 220 Wells St. 
W.aukesha: Warren S. O'Brien Commercial Studio. 

35 5 Broadway. 

(Continued on page 132 i 


in rewinding on tlie machine and for 
projection where regular current is 
not available. In this case, battery 
lamps may be used for illumination 
and, of course, the operator must be 
content with relatively small pictures. 
The spindles are so arranged that 
the distances can be changed to ac- 
commodate either 100-foot or 400- 
foot reels and, in either case, one reel 
can be rewound while the other is 
being shown. 

The carrying case is ingeniously ar- 
ranged so that the case goes over the 
machine and locks in position. A 
special screw is provided to lock the 
machine in the case for shipment and 
a board, on which the projector fits, 
serves both as a convenient base and 
as a separator for the accessory com- 

A ccident 

DUE to a press mishap during pub- 
lication some copies of January 
Movie Makers did not give clear 
reading to the address in the adver- 
tisement of Stonelab, Inc., which is 
8805 Hough Avenue, Cleveland. Ohio. 
This company made a special offer of 
$2.00 for enlargements from 16 mm. 


(Continued from page 94) 

Scene 28 — Exterior shoemaker's 
shop; close-up of boot-shaped sign 
swaying in the wind. {Iris out.) 
The method of combining musical 

themes for the above scenario may 

be described as follows: 

1. Introducing a swinging rhythm 
represented by the shoe sign, contin- 
uing this rhythm with the clock pen- 
dulum, which marks time between 
the different processes of repairing. 

2. Introducing four musical themes 
represented by the cobbler's hands 
and the three different pairs of shoes. 

3. Blending these themes with 
those representing the processes of 
stitching, nailing, polishing, etc. 

4. Contrasting shoe themes with 
those of revolving wheels; for in- 
stance: the workman's shoe on the 
tiny wheel, the lady's pump on the 
larger wheel, the child's shoe on the 
large brush. These three-sized wheels 
are also symbolic of notes of the scale 
and a rising crescendo. 

5. Combining all the themes at the 
climax which shows the cobbler at 
his workbench surrounded by all his 
paraphernalia while shots of him al- 
ternate with shots of the swinging 
clock pendulum. 

6. The diminuendo — ending on the 
same note as Scene 1. represented by 
the swaying shoe-sign. 



COUNTLESS inquiries received by us from all parts of the 
world indicate a tremendous demand for a simple method 
of producing motion pictures in natural colors such as has 
been attained by the Vitacolor process. 

lilability o( ViTACOLOR through dealers every- 
that the amateur cinematojrapher, with his 

present equipment, may make hon 

VITACOLOR means — as many duplicates e 
original negative without loss of color 
lens requirements . . . projection range s: 
white . . . pictures may be taken unde 
conditions as prevail for good black and 
host of other features making Vir»coi,c 
and professional use. 

le as for black and 
the same lighting 

lite pictures ... a 
ideal for amateur 

A SK your dealer for a demonstration. If he has not yet 
^ received his ViTACOLOR equipment, send us his name and 
ve will send you more detailed information regarding this 
emarkable process. 



207-9 N. Occidental Blvd. Los Angeles, Calif. 

The New 

Depue and Vance 



v_,.a*~» ''~«%>^ 

This new open face dark room 
model with all its attachments is 
so constructed that it will make 
16 mm. Optical Reduction 
Prints, 35 mm. Contact Prints, 
16 mm. Contact Prints. Enlarges 
from 16 mm. to .^^ mm., also ?5 
mm. and 16 mm. duplicate nega- 
tives. For this last operation it is equipped with wrattcn filters and special 
curved apertures for duplicating stock. 



FEBRE'/%R^ 1929 

Arrow Bead Screens 

Give better pictures 

These portable screens are fin- 
ished with a Glass Bead reflecting 
picture surface, mounted on a metal 
spring roller, which is fitted into a 
neat dustproof mahogany finished 
case, with leather handle for carry- 
ing. It is very simple to open and 
close these screens, and they are 
easily carried. 

Screens Nos. 2, 3 and 4 are fitted 
ivith a stretching device which keeps 
the bead surface smooth and taut, 
and free from wrinkles. 

Screen rolled i 

SCREEN No. 0. Size 16x3x21/. inches, with 
picture surface of 91/4x113/4 inches. Weigllt 
3 pounds. Price $10.00. 

SCREEN No. 1. Size 33'/2x3l/4X4 inches, with 
picture surface of 22x30 inches. Weight 6 
pounds. Price $15.00. 

SCREEN No. 2. Size 4 5 1/2 " 4 1/, x 5 inches, with 
picture surface of 30x40 inches. Weight 1! 
pounds. Price $25.00. 

SCREEN No. 3. Size 57x4y4X? inches, with 
picture surface of 39x52 inches. Weight 18 
pounds. Price $35.00. 

SCREEN No. 4. Size 72x5l/4x5'/2 inches, with 
picture surface of 51x68 inches. Weight 40 
pounds. Price $75.00. 

These screens, because of their compactness and 
light weight, are ideal wherever ready portability 
is a consideration. 

The No. screen is a favorite for counter use, 
editing films, etc. 

The Nos. 1, 2 and 3 are adapted to the home, 
office, summer camp, and for the use of tourists 
and commercial travelers. 

The No. 4 screen is suited to large homes, 
school classrooms, clubs, lodges, churches, etc. 


Maiiiijaclured under U.S. Pal. No. 1,399,566 by 

Arrow Screen Company 

WILLOUGHBY'S, 110 W. 32nd St. 

Greater New York Distributors 

DEALERS— Write us 

for descriptive 

folder and trade discoun 

t on the Arrow 

Line; Bead Screens as 

ow as $7.50 re- 

tail. Complete stock ca 

rried in Holly. 

wood, Chicago and Nev 

1 York for im- 

mediate shipment. 




Cape Province 
Jape Town: Kodak (South Africa) Ltd., "Kodak 
House," Shortmarket and Loop Sts. 
New South Wales 
ivuNEv: Harringtons, Ltd., 386 George St. 
Kodak (Australasia) Pty. Ltd., 379 George St. 

New Zealand 
Vcllincton: Kodak (Australasia) Pty. Ltd., Box 
1474, G.P.O. 

Jrisbane: Kodak (Australasia) Pty. Ltd., 250 
Queen St. 

South Australia 
\delaidr: Harringtons, Ltd., 10 Rundle St. 
Kodak (Australasia) Pty. Ltd., 37 Rundle St. 

Iobart: Kodak (Australasia) Pty. Ltd., 45 Eliza- 
beth St. 

IE: Charles W. Donne, 349-51 Post Of- 
fice Place. 

Harringtons, Ltd., 266 Collins St. 
Kodak (Australasia) Pty., Ltd., 284 Collins St. 
Kodak (Australasia) Pty., Ltd., 161 Swanston St. 
Technical Journals Pty., Ltd., Temple Court, 422 
Little Collins St. 

West Australia 
'erth: Kodak (Australasia) Pty. Ltd., Hay St. 



Calcarv: Boston Hat Works and News Co., 109 

Eighth Ave. 

British Columbia 
Vancouver: Eastman Kodak Stores, Ltd., 610 Gran- 
ville St. 

Film y Slide Co. of Can., Ltd., 319 Credit Foncier 


Winnipeg: Eastman Kodak Stores, Ltd., 472 Main 


Hamilton: W. Hill (i Bro., 90 W. King St. 
Ottawa: Photographic Stores, Ltd., 65 Sparks St. 
Toronto: Eastman Kodak Stores, Ltd., 66 King St. 

T. Eaton Co., Dcpt. V.-6, 190 Yonge St. 

Film 6? Slide Co. of Can., 156 King St., W. 

Lockhart's Camera Exchange, 384 Bay St. 
Montreal: T. Eaton Co., St. Catherine St., W. 

Film tf Slide Co. of Can., Ltd., 104 Drummond 


Gladwish a Mitchell, 147 Peel St. 

Wallace Hcaton, Ltd., 47 Berkeley St.. Piccadilly. 

Westminster Photographic Exchange, Ltd., 62. 


Westminster Photographic Exchange, Ltd., Ill, 

Oxford St. 
Shefpield: Wm. Mcintosh (Sheffield) Ltd., Change 


Sheffield Photo Co., 6 Norfolk Row (Fargate). 


Honolulu: Honolulu Photo Supply Co., P. O. 

Box 2999. 

Amsterdam: Capi, 115 Kalverstraat. 

Foto Schaap 6? Co., Spui 8. 
Den Haac: Capi, 124 Noordeinde. 

Fotohandel Ter Meer Derval, Fred. Hendriklaan, 

Groningen: Capi, 3 Kleine Pelsterstraat. 
Rotterdam: Bollemeijer £^ Brans, Korte Hoogstraat 


Budapest. IV: Pejtsik Karoly, Varoshaz U-4. 

BoMB.«-: Hamilton Studios, Ltd., Hamilton House, 

Graham Rd., Ballard Estate. 
Calcutta: Army S" Navy Coop. Soc, Ltd., 41 

Chowringhee St. 

Milan 29: Kodak Societa Anonima, Via Vittor 

Pisani N. 6. 

Kobe: Honjo &■ Co., 204 Motomachi 6-Chome. 
KvoTo: J. Osawa &■ Co., Ltd., Sanjo Kobashi. 
Osaka: Fukada tf Co., 218 Dojima Bldg. 

T. Uyeda, No. 4 Junkeimachi Shinsaibashi-suji, 

Minai ■ 



HoNC KoNc: The Pharmacy, Fletcher H Co., Ltd.. 

26 Queens Rd., Central. 
Shanghai: Chiyo Yoko Photo Supplies. 470 Nan- 
king Rd. 

Eastman Kodak Co., 64 Kiangse Rd. 


Copenhagen V: Kodak Aktieselskab, Ostcrgade 1. 



Weltvreden: Kodak. Ltd., 38 Noordwijk. 

Harrogate: A. R. Barnes, 39 James St. 
London, S. W. I.: Westminster Photographic Ex- 
change, Ltd., 119, Victoria St. 
London. W. C. 2: Sands, Hunter if Co., Ltd., 

37 Bedford St., Strand. 
London, W.I.: Bell &> Howell Co., Ltd., 320 Re- 
gent St. 

j. H. Dallmeyer, Ltd., 31 Mortimer St., Ox- 
ford St. 
W.illace Heaton, Ltd.. 119 New Bond St. 


Home Movies Library, 515 Marunouchi 


Mexico City: American Photo Supply Co., S. A., 
Agcncia Postal 25. 

Kodak Mexicana, Ltd., Independencia 37. 
Pathe Baby-Agency for Mexican Republic; Latapi 
Y Bert, Av. 16 de Septiembro 70, El Globo. 
Puebla: Casa "Hertes." Av. Reforma 109. 

Oslo: J. L. Nerlien A/S, Nedre Slotsgate 13. 
University Book Shop. 

Manila: Dcnniston, Inc.. 123 Escolta. 

Ancon: Specialty Shop, Box B. 

Panama City: Lewis Photo Service, 1 Fourth of 
July Ave. 

Edinburgh: J. Lizars, 6 Shandwick PI. 
Glasgow: Robert Ballantine. 103>/2 St. Vincent St. 
J. Litzars, 101 Buchanan St. 
Bangkok: Prom Photo Studio, New Rd., Cor. Char- 
tered Bank Lane. 

ia: James Casals. 82, Viladomat St. 
Kodak Sociedad Anonima, Puerta del 
Sol 4. 

Penang: Kwong Hing Cheong. Ic Penang St. 
Singapore: Y. Ebata ii Co., 33 Coleman St. 
Kodak, Ltd., 130 Robinson Rd. 
Medan: Y. Ebata 6? Co.. 69 Kesawan. 

Stockholm: A. B. Nordiska Kompaniet, Photo* 
graphic Dept. 

Lausanne: Kodak Societe Anonyme, 13 Av. Jean- 
Jacques Mercier. 
Winterthur: Alb. Hoster, Marktgasse 57. 
Zurich- Cans and Co., Bahnhofstrabe 40. 
Ziilauf (Vorm. Kienast ii Co.), Bahnhofstr. 61. 



is a cooperative monthly publication issued by lead- 
ing dealers in amateur movie equipment throughout 
the world. Copies are free on request. 

HOME MOVIES can now be obtained in New 
York City at the following dealers: 


no West 32nd Street 



117 Park Avenue 


12 Maiden Lane 

Exclusive local rights to HOME MOVIES in the 
larger cities are held by the following houses: 

WILLIAMS, BROWN 6? EARLE, Inc., 918 Chest- 
nut Street, Philadelphia, Pa. 

Wilshire Blvd., Los Angeles, Cahf., and 564 Market 
Street, San Francisco, Calif. 

ALMER COE & COMPANY, 105 North Wabash 
Avenue, 78 East Jackson Blvd., 18 South La Salle Street, 
Chicago, 111., and 1645 Orrington Avenue, Evanston. 

Street, Springfield, Mass.; 849 Chapel Street, New 
Haven, Conn., and 1148 Main Street, Bridgeport, Conn., 
and similar prominent houses from coast to coast. 

The following firms in foreign cities use HOME 
MOVIES as their monthly house organ: 

Av. F. I. Madero, 40, Mexico, D. F. 

HOME MOVIES LIBRARY, 515 Marunouchi Bldg., 
Tokio, Japan. 

Street, Auckland, New Zealand. 

Write to us for the name of the dealer who issues 
HOME MOVIES in your city. 





Felix Tries to Rest 
100 feet $5.00 

For sale outrijht at this special low price 
— a short time only! The most popular of 
artoon characters — always a hit with chil- 

Felix Puts it Over 
300 feet $22.50 

laughable, er 

me addition to your home 
:)icture would be — alwa>'S 
r a hit. never tiring. 

Felix Doubles for 


300 feet $22.50 

ajfain — Felix the uproar- 

best. The 



ady for you at any of the 
s below. 



Eastman Kodak Stores Solatia M. Taylor 


Alves Photo Shop, Braintree 


J. C. Freeman & Co. 


Smith Office Equipment Co. 


Starkweather & Williams 


The Harvey & Lewis Company 

The Harvey & Lewis Company 

The Harvey & Lewis Company 


The Harvey & Lewis Company 


Curtis Art Company E. S. Baldwin 


Hudson Radio Laboratories 


B. Gertz, Inc., Jamaica Lovett Cine Studio 

Wm. C. Cullen Gillette Camera Stores 
Eastman Kodak Stores, Inc. 

Fred'k. Loeser & Co. Schaeffer Company 
Williams, Brown & Earle 

Mortimer's Twelfth Street Garage 

United Projector & Film Corp. 

Cunningham's Lindemer's 

Buffalo Photo Material Co. 

A. H. Mogensen Kelly & Green 

Tampa Photo & Art Supply Co. 


Star Electric & Engineering Co. 


Aimer Coe & Co. A. S. Aloe Co. 


Ideal Film Corporation 


Leavitt Cine Picture Co. 


Photographic Stores Ltd., Ottawa 

Regina Films Ltd., Regina 


Photo Supply Co., S. A. 


Honjo & Co., Kobe 


nk Wiseman Co., Aukland 

Home Film 

100 East 42nd St., New York City 


are atsn rental stations 
I.ibrarifs. including the 
oi I921 Features. 

FE^RCI/^IC* 1929 


Slightly Used hut in Good Condition 

We have too many copies of the folhnving subjects — and offer them for sale at only $17.50 per full library reel 

of nearly 400 feet average length. 

Orders filled in rotation, subject to prior sale. 

All described in the Descriptive Catalogue of Kodascope Library Motion Pictures. Numerals in parentheses indicate 

number of reels in each subject: 


1040— EARLY TO RICE (1) 


1061— SCREEN SNAPSHOTS NO. 24 (1) 



3001- A FEW GOOD TERNS (n 

4003- HEARTS AND HATS (1) 

4004— EASY PAYMENTS (1) 




4009— THE WISHBONE (1) 

4014— KIDDING UNCLE (1) 

4063— WEDDING BELLS (2) 


Specify alternates in case first choice has been sold, as the 
Any of these subjects' can be rented for examination fron 
credited on sale price if purchased. 

son,;— HEARTS IN EXILE (5) 

8009- HEART OF A HERO (6) 



8014 — LA BOHEME (51 


8066— UNDER PAID (2) 


8074— SECOND FIDDLE (5) 

8084— PAL O' MINE (5) 

8085— NOT ONE TO SPARE |4) 


8088— LEAVE IT TO GERRY (5) 


8117— THE FOOLISH AGE (5) 

8125— EYES OF YOUTH (6) 

8134— THE GOOD BAD BOY (5) 

available supply will go quickly at these prices. 
I the nearest Branch Library and rental will be 


Branch Libraries and Distributors in Forty Leading Cities of the United States and Canada 

Our Latest Rental Release 


Featuriiit/ Ricardo Cortez, Ernest Torrence, 

George Bancroft, Wallace Beery and Betty Compson. 

A wonderful Paramount Picture, another "Covered H^agon" and by the same Director. 

'T^ictures that Please'' 




The photographs on the left were taken with 
ordinary film; those on the right ivith Cine-Kodak 
Panchromatic Film under identical conditions. 

Ordinary film 
reproduces the 
flowers almost 
black; "■Pan" 
gives them 
their proper 
color tone. 
Note also the 
improved ren- 
dering of the 
girl's face and 
dress in the 

"Pan" gives 
this picture 
a realism, a 
beauty, that 
cannot be ap- 
proaclicd «ith 
ordinary fihii. 
>fote the detail 
in the fore- 
ground and 
tlie sharp con- 
trast in the 
clouds brought 
out by "Pan." 

PANCHROMATIC film is used in over 
70% of professional motion pictures 
because of its sensitiveness to all colors 
and its ability to reproduce them accurate- 
ly in their relative black and white tones. 
The quality of your home movies — 
whether of persons, landscapes, portraits, 
water scenes, interiors, or whatever you 
photograph — will be appreciably im- 

proved by the consistent use of '"Pan." 
Cine-Kodak Panchromatic film is 
priced at $7. .50 per 100-foot roll. A filter, 
used under some circumstances, is priced 
at $2..50 for the Cine-Kodak, Model B, 
/.1.9; at .S1.50 for the Model B, /..3.d or 
/.6..5. A special front required to equip 
Model B, /.3.5, with the filler is priced 
at $1.00. 

^ our Cine -Kodak dealer carries I'aticlironiatir Film 

Eastman Kodak Company, Rochester, N. Y. 

''IVhat you sec, 
you get" 

Filmo 70 

Capture the real beauty of 

Winter Action 

In winter, just as in 
other seasons, it is 
easy to take excellent 



motion pictures with a Filmo 70 or 75 camera. 
The crystal white covering of snow alters photO' 
graphic conditions considerably — but Filmo is 
ever adaptable to all variations of weather, light, 
speed and distance. 

A Bell 6? Howell color filter can be used with 
any of the twenty-six lenses that are instantly 
interchangeable on either model of Filmo. ^,,; tojb^n 
Color filters absorb the ultra-violet light W a'§S 
reflected in great volume by the snow — g^^ i^f" 
permitting photographic registration of ,r 
snow, clouds and darker objects with sat- 
isfactory detail in each. Exposure charts 
are furnished for correct use of Bell £s? 
Howell color filters. 

On dull days the speedy Taylor-Hobson 
Cooke F 1 . 5 or F 1 .8 Filmo lens is the one to 
use. With either of these lenses, your Filmo 

will catch many late-in-the-day scenes you would 
otherwise miss. Likewise either lens can be em- 
ployed in adapting your Filmo for use with 
Eastman Kodacolor film. 

For distance, select a 3^^'", 4" or 6" Tay 
lor-Hobson Cooke Telephoto lens. Each is built 
for lifetime use, though one exceptional series of 
"distance shots" will amply repay you for the 

In keeping with the twenty-two-year- 
tested principles which characterize Bell 6? 
Howell professional cameras — used in mak- 
ing most featured theatre pictures — Filmo 
cameras, with their simple accessories, are all 
amateur cameras in one, immediately adjust- 
able to the particular purpose of the moment. 
See a Filmo dealer for demonstration, or 
write for descriptive booklet "What You 
See, You Get." Questions involving person?! 
movie technique are always welcome and 
will be answered bv return mail. 


BELL & HOWELL COMPANY, Dept. B, 1828 Larchmont Ave., Chicago, lU. 
New York, Hollywood, London (B. & H. Co., Ltd.) -» Established i^oj 

MaKAZloe of tUe 

ICE asc 


superlative brilliance 

in amateur screen 


'ING fiooci pictures in Ihc first place is importanl , but no 

^J matter how clear your film, it is screen brilliance, steadiness, 
and lack of dicker that runs up the final score of satisfaction. And 
that is^^ hy those who won't compromise on qualit y insist on Filino. 

Filmo's sMperlali\e projecliot 
an established fad. Nor did il en 
than 22 years of cnristant slri\ ii 
mo\ ie camera and equipment 

rid screen performaiK'e is now 
'about t broiiiib (;(r/(/c;i/. Mon' 
by Bell \ Howell, professional 
pecialists to produce the finest 

amateur instrument of its kind in the world, contributed to its 
recognized excellence. Such experience knows no siihstihile. 

Precision and accuracy! That is the hue and cry of B<'ll & 
Ilowell specialists. It explains why delicate Bell \' Howell tooling 
operations nuist jiass tolerance tests of from one /(oo-thousandlh 
to one toi-thoiisarulth of an inch! And it e\[ilains why the Filmo 
owner can forfeit flickcrinf; and blur and with the Filmo Projector 
always welcome pictures as beautiful and brilliant, as clear, 
untlickerinji, well registered and gratifying as any you e\ er saw 
on the pr<j^fessi(jnal .screen! 

Moreo\er. you can now iiroloiig the proj<'ction of aii\ single 
frame without injury to the liirn. This is facilitated by the new 
B.&H. Perforated Screen Safet\ Shutter. I'assesjust enough liuhl 
to .safeguard the film, yet not spoil the piclurc. Installed b> .my 
Filino dealer at nominal price. 

With ihr. Extra-Lite Projection Lens from 10 to 2.) per cent 
more illumination is delivered to the screen than with regular 
projection lenses. It is available for either 200 watt or 2,'50 watt 
projector. With this lens the "Extra Bright" 5 amp. Filino 

New 57 -C 
Bell & Howell 
Filmo Projector 

Wilh viirial>lo v.illiifo 
rc-islaiicn, voltnipler iiiid 
2.W wall. 5 amp. lamp 
(equal to ordinary .^1'" 
wall. 110 veil lamp) 
IVicral at S240. i.ictiiHini; 

uiniiialloii Itiaii any oIIk 
feature aNailable for I'' 

Projector deli\ers fai 

projector made. Alio 

jeclor is the ?4-inch. shorl focus projection lens — iinaluuble for 

window displays and similar short throws. 

Ask any dealer to show you the Filmo Projector — also 
ef(uall> remarkabli 

booklet, "What ^< 

Filmo TO an<l 

II See, \ou Gel 

cameras. Or write us for 


BFIJ. & HOWKI.l. CO., Depl.C. I!!2!! bareliiiMUil Ave., Chicago. Ul. y,;, York. Ilollyiiooil. Ij.mlon {Ii. di. ll.Co.. Ud.) Kstabiished 1V07 


The New 


16 MM. 


For complete details 
' I See the Two-Page Diiograpli i 
"' advertisement on pages 142 

and 143 of this issue 


Wood Tripod, Aluminum 
Extension Legs, only 4% 

pounds $35.00 

Plates for Projector use 

$6 and $7.50. 

Canvas Shut Tite Case, $4. 

Closed 33'/2", Extended 58" 

Tilt and Panoram Top onI\' 


He are the Eastern 



Professional results are obtained with this outfit 
consisting of one 100 ft. reel and three nesting trays, 
one for developer, one for hypo and one for water. 

Unit for 100 feet 16 mm. film $50 

Unit for 100 feet 35 mm. film 50 


This efficient, easily operated printing machine may 
be worked by hand or motor. An adjustable light 
opening controls exposure on over or under exposed 
negatives. Has capacity for 200 feet negative and 
positive film. 

For 16 mm. film . 
For 35 mm. film . 

. 90 

Head Screen partially open showing 
liow \ertical supports spring auto- 
matically into place. 




Frosted Crystal Pearl Bead Sur- 
face. Has exceptional brilliance. 

To open screen, pull handle 
straight up and screen is ready 
in an instant. 

To close screen, simply touch 
side supports and screen rolls 
down into its case. 

Type AX (Leatheroid Covered 

15 x20 $25.00 

22 X 30 27.50 

30 X 40 33.50 

36 X 48 38.50 

39 X 52 40.00 

Type CX (Lacquered Brown 
Rubbed Finish Case) 

15 x20 $20.00 

22 X 30 23.50 

30x 40 28.50 

36 X 48 34.50 

39 X 52 36.50 

I»a/%RCH I02«» 


An Achievement . . . 

Motion Pictures 

In Full Color! 

As Easily Made as the Ordinary 
Black and White — Assuring 
Unapproachable Perspective 
and Stereoscopic Effects. 

k^ ^ color's hour, on film and screen — now that VITACOLOR has arrived! 
^ For this amazing development in cinematography allows you to capture 
and project every imaginable photographic subject including nature's loveliest 
themes, in the fullness of all their actual color values. 

For VITACOLOR is not only a practical develop- 
ment, hut the embodiment of simplicity, adapted 
from A to Z to amateur, professional, scientific, 
library, telephoto or miscroscopic work — the out- 
of years of laboratory and research effort. 

I— With VITACOLOR. owners of standard 16 
mm. equipment may enjoy every color advantage, 
by simply adding the VITACOLOR attachment — 
a detachable equipment in no way interfering with 
the taking and projecting of ordinary black and 
white pictures. 

2 — Operation — merely load your camera with 
VITACOLOR Panchromatic film, and proceed the 
same as in taking and projecting black and white. 

"■■ — As many duplicates as required may be made 
(rum the original negative without loss of color 

4_With VITACOLOR. any reliable standard 
3.5 lens will give excellent results. 

5— VITACOLOR pictures may be taken under 
lighting conditions similar to those required for 
good black and white. They have even been taken 
in the early morning with a high fog obscuring 
the sun. as well as in the evening, revealing the 
glories of a brilliant sunset — bright sunlight with 
special wide open /-1. 9 lens not being necessary. 

6 — ^VITACOLOR pictures taken with a standard 
55 mm. camera may be printed down to 16 mm., 
opening a vast field for library and educational 
; of 16 mm. projectors. 

7— The VITACOLOR Process gives a true per- 
spective and a marked stereoscopic effect — two 
vital factors that have always taxed the ingenuity 
of photographic experts. 

PROCESSING: Exposed VITACOLOR Panchromatic Film m 
being returned with a helpful, technical analysis of the work. 


Los Angeles for developing- 

nd positii 

,ed branches where VITACOLOR Panchr. 

ulable for standard Bell ii Ho 
n model "A" projectors. Atl 

ANNOUNCEMENT will shortly be made of \u 
mation furnished from the VITACOLOR home c 

ATTACHMENTS— VITACOLOR attachments are now 
one inch lens; also available for Filmo projectors and Ea; 

LIBRARY— Library color subjects for VITACOLOR projector are now in the course of preparation. 

Note; VITACOLOR pictures are taken at a speed of twenty-four frames per second and projected in like ma 
Mthout extra charge at^ the_ VITACOLOR Laboratories; a VITACOLOR transformer is provided which 

for developing and printing. Infor- 

A.C.. 50 or 60 cycle, 110 volt 

vhere the current 


ell Filmo cameras, using either standard /'3.5 or other standard 
chments for other focal length lenses and equipment will soon 

Cameras are adjusted t 
maintain the required abo 


VITACOLOR Camera Attachments, completely installed— List price $75.00. 

VITACOLOR Projector Attachments, completely installed— List price $100.00. 

Transformer— $12.00 extra. 

VITACOLOR Screen, without standard. 24x32 inches— $15.00. 

Literature and further information 

on request. 


er 100 feet, 
and print. 

Du Pont Vitacolor Corporation 

207-209 Occidental Blvd., Los Angeles, Calif. 

l»I*OA*l»E OF THE ,%M.«TEa R ri:%EM^ EE^OCE. IWC. 


MARCH, 1929 



Cover Design Walter Martin 

Featured Releases for Home Projectors 144 

Editorial 147 

Cutting THE High Spots, Musings on an Effort to Solve the Greatest of Cine Problems Dr. Kinema 149 

Making "Talkies" At Home Herbert C. McKay 151 

Three Practical Methods for Synchronization by Amateurs 

Photoplayfare, Reviews for the Cintelligenzia Edited by Roy W. Winton 152 

Film Flam Edited by Louis M. Bailey 153 

Variety In Lighting, A Discussion, for the Beginner, of Various Ways of Using Light Arthur L. Marble 154 

Critical Focusing, Technical Reviews to Aid the Amateur Edited by Arthur L. Gale 156 

The Clinic Edited by Russell C. Holslag 157 

Amateur Clubs, News of Group Filming Edited by Arthur L. Gale 158 

The Movies Win For Welding Louis M. Bailey 160 

How Films Are Stimulating the Progress of a Conservative Profession 

Titling On Location R. K. Winans 161 

Prism Performance, A Discussion of Prisms with a Plan for Simplifying their Use Carl L. Oswald 162 

Roast Goose, Served with Cine Sauce K. L. Noone 163 

Why a Continuity? An Analysis of the Foundation of the Modern Photoplay Paul D. Hugon 164 

Hollywood, 1929, New Methods of the Film Capital which Hill Interest the Amateur H. Syril Dusenbery 166 

Home Developing and Printing, Further Notes W. Sterling Sutfin 168 

Dress 'Em Up, Manifold Uses of the Iris and of Masks and Effect Filters Herbert C. McKay 172 

Educational Films, News of Visual Education in Schools and Homes Edited by Louis M. Bailey 178 

Dreamy Shores, An Art Title Background A'. Koike 180 

British Amateurs 193 

News of the Industry for A mateurs and Dealers 194 

Around the World With Movie Makers 198-200-201 

An International List of the Dealers who Carry this Magazine 

♦ ♦ ♦ 

MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. 

Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50); to members of the 

Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies, 25c. 

On sale at photographic dealers everywhere. 

Entered as second-class matter August 3, 1927, at the Post Office at New York, N. Y., under the Act of March 3, 1879. 
Copyright, 1929, by the Amateur Cinema League, Inc. Title registered at United States Patent Office. 


Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pe 


Advertising rates on application. Forms close on 5th of preceding month. 

K. L. NOONE, Advertising Manager 

RUSSELL C. HOLSLAG, Technical Editor ARTHUR L. GALE, Club and Photoplay Editor 


IM;%RCH 1929 


Scores Sensational Triumph with 
High Quality Astounds Everybody 

T^UOGRAPH has taken the trade and public by storm! Its 
-■-'' amazing quaHty and performance have won enthusiastic 

T)IGTURES cannot do justice to Duograph, with its precision 
'*- movement and unsurpassed lens, encased in solid aluminum 
die castings, and beautifully finished in crackle colors. 

T^EALERS meet with no sales resistance. Duograph will give 
'^ the home movie industry the greatest impetus it has ever 


Duograph compares favorably with any 16 m. m. Projector on 




MODEL A— (Standard) 

Combination crackle finish, bracket for 200 ft. reels, 
and direct rewind. 

Complete with Carrying Case. 

400 FT. BRACKET: A chromium plated bracket holding 400 ft. reels, wit 
4-to-l geared rewind is provided as an accessory to Model A. Interchange 
able and replaces 200 ft. bracket and can be instantly attached. Price, $7.0< 

Sturdy and Durable 

No Fire Hazard 

Can Be Operated 
By a Child 

Lamp and Electrical Appliances by 


Lens and Optical System by 


Die Castings by 


Invented and Designed by 





Crade and Public 

Motor-Driven Model $ ^7 COO 

Complete with Carrying Case I — ^ 

We have in production for delivery on or about 
March 15th a motorized model with governor 
controlled, fan-cooled motor, entirely enclosed 
in beautiful aluminum base. 

This base is interchangeable with Model A 
and Model A De Luxe, and quickly and easily 
attached. It will be provided as an accessory 
to those models. 

Coming— 16 mm. CAMERA— Coming 

Unique in design — perfect in performance. 
Companion to projector. Invented by E. Will- 
iam Nelson. 

he market '"regardless of price! 

MODEL A— (De Luxe) 

Chromium plate and crackle finish on gold or silver, 
Dracket for 400 ft. reels, and 4-to-l geared rewind. 

Complete with Carrying Case. 

A Marvel of Mechanical Precision 


T^UOGRAPH meets the increasing demand for a low priced, 
■*-^ high quality machine. In appearance and performance it is 
in a class entirely its own. 

T^UOGRAPH is the ideal apparatus for cutting, editing and 
■■-^ selecting enlargements. Individual pictures can be held in- 
definitely on screen without damage to film. 

HP HE highest grade of materials and workmanship are incorpo- 
-*- rated in Duograph. Its symmetrical lines and artistic finish 
in exquisite colors make it an article of rare beauty and an orna- 
ment to any home. 

If not yet available through your local dealer 
write to us for name of nearest dealer. 

130 West 42nd St., NEW YORK, N. Y. 

»a/%ISCH I929 

200 ft. reel capacity, hand 
operated (as illustrated) . . 
400 ft. reel attachment $7. extra , 

Your Own Movie Shows 

at a New Low Price of Admission! 

Come in and let us demonstrate the new 

400 ft. reel 


(hand operated) 



Motor Driven 

(400 foot reel) 


Completely Equipped with Carrying Case and Reels. Projects clear, brilliant 
and steady 16 mm. pictures. Beautiful crackle finish in black, green, red or blue. 

DALLMEYER, Tele-Photo 

These lenses are the overwhelming choice of professional 

"Camera Men"; used by the Martin Johnsons. 

3 in.f-3.5— $8?; 4 in.f-4.5— $60; 4in.f.4— $80; 6in.f-4— $95; 6in.f-3.5— $125 

Matched Finders With All Lenses 

Mouon Picture Headquarters for 21 Tears 

HUES^EN <0* 

18 East 42nd street 



For Home Projectors 

Bell 6^ Howell Co., Chicago. 111. An important 
move by the Filmo Library is the releasing each month 
of a feature picture. The first, a Thos. H. Ince pro- 
duction, complete in five, 400 ft. reels, is The 
Bushcr. with Charles Ray, Colleen Moore and John 
Gilbert. Last month we called attention to the in- 
teresting Wm. L, and Irene Fmley bird and animal 
life films now offered in 16 mm. by the Filmo Lib- 
rary. Two more of these are now available. Renting 
Houses /or Songs, in which several varieties of the 

song birds on the Finley estate figure, and Don 9 

the Cili/ornw Siuii,l. Each of the four Finley pic- 
tures now available to the amateurs is complete in 
100 ft. FeUx the Cat. wnh the Cou-bovs. and Felix 
the Cat. in Dutch, both 100 ft. subjects, complete 
the offerings for the month, but a catalogue of the 
Filmo Library and a bulletin of current releases may 
be had for the asking. 

Eastman Kodak Company, Rochester. N. Y. 
The announcement sounds interesting, for here arc 
The Doodlebug Circus and Chip, the Wooden Man, 
the latter in The Mdgic Wand. The Doodlebug pic- 
ture brings in all the side-show stars, with a barker 
presiding. Chip continues his adventures, this time 
having found an old witch to guide him to The Wish- 
ing Land. These Cinegraphs are in 100 ft. lengths 
Wlijling. made off the coast of Alaska for Cinegraphs, 
is a 200-ft. whale hunt -thriller." Barnyard Pets 
would seem to have an especial allure for the little 
people, for It is the story of two friends, a very 
small kitten and a very large dog. The kitten's ef- 
forts to keep the dog immaculate by "personal ap- 
plication" should alone be worthy of encouragement. 

TURES, Inc., Chicago, 
This library announces a new series of Special 
Kclcases. In this new group of ten pictures of dif- 
ferent lengths up to 400 ft. will be found a great 
variety of subjects. This month the amateur may 
visit the fascinating South Sea Islands by way of 
two full library reels. Fire Walters of Beqa and 
Samoa-Coco-nuts and Copra. Another outstanding 
picture. Rubbering in Selangor, depicts the great in- 
dustry of the Federated Malay States. Lovers of 
snow and ice will be interested in The Snou-Bound 
Pyrenees, which shows some of the world's most 

Home Film Libr.aries, Inc. 
Ffli.x Tries to Rest (100 ft.), Fcl; 
It.), and Felix Doubles /or Dai 
always popular Felix. And 
Home Film Libraries' featu 

New York. N. Y. 
Puts it Oner (300 
iruiin (300 ft.)— the 
lecting one from the 
for special mention, 
Jobyna Ralston and 

r> Clothes, 
Johnny Walker. Sii reels. Why not ask for a full 
list of the releases? 

KoD.tscoPE Libraries. Inc. Wallace Beery, Ray- 
mond Hatton, Chester Conklin and We're in the 
Havy How take the front of the curtain for Koda- 
scope this month, sharing the limelight, however, 
with the offer of the new Third Edition Descriptive 
Catalogue, in which the amateur may choose from 
1,000 reels of rentals. 

Pathegrams, Jersey City, N. J. Our Gang? Yes! 
In The Big Show. They're in the circus business now. 
Then there's Billy Bevan in Hohoken to Hollyu.ood 
by virtue of Mack Sennett, and Saturday Afternoon, 
in which Harry Langdon appears. These are all 400 
ft. reels. Thrills, a 200 ft. picture of famous dare- 
devils in action, completes the Pathegrams "picture" 
for the month. 

Ernest M. Reynolds, Cleveland, Ohio. Heart 
of the Adirondaclis. showing the big woods. Long Lake 
and vistas of Lake George, the ?<ineteen Twenty-nine 
Pasadena Tournament of Roses and Through the 
Thousand Islands are the features this month. 

Y. M. C. A. Mo 



York, N. Y. Bradford Washburn, Jr 

enced mountain climber, spent the Ch 

days of 1927 climbing in the White Mountains. The 
result IS the release of a 16 mm. subject by the 
Y M C. A. Motion Picture Bureau, Bradford on 
Mt, Washington, which is offered witiiout rental to 








By a unique assembly 
of your editing outfit, 
splicing and cutting can 
be done with maximum 
speed and accuracy as 
you work directly from 
the projected picture. 


your problems for high speed work, sensitivity for color on 
Panchromatic Film and Kodacolor, and for all poor lighting con- 
ditions. It is unique for General All-around work. 

I" Focus 


The Cullen Humidor Storage Case solves your '^^HH' C"l'en Carrying Cases solve the problem of hav- 
, , r L . 1 J , ,.„„, fii„<, t^B^^^^K ing all the necessary equipment alwavs corn- 
problem of how to keep and carry your hlms. ^» k; s j . ., .l ' -.l hi -.u » 
^ J I ■ J- -■ ;1B ■& pactlv at hand together with vour Filmo, without 
Always in good condition, ready for immediate » M^ additional bulk or weight. Compactness, con- 
use. Made in three convenient sizes to store IB |^ venience and appearance combined to the maxi- 
400 ft. reels in Tins. '» WM mum degree. 

c <nn t. IT". f H K REGULAR CASE 

8 — 400 ft. reels in 1 ins vtsl ^P 

16— 400 ft. reels in Tins K '^^' ^i^ ^fc*^fc*^"W cS 

«l7Cn m- PHOTO SUPPLIES SINCE 1882 « duple.xcase 

$l/.OU » ^, ..^ , „. JB [Filmo with Duplex 

K 12 Maiden Lane, New York City ^ Finder aiiached) 

24 — 400 ft. reels in Tins Bf He expect our customers to have problems. They have Wk Black $22.00 

^^^ r^ K learued to expect us to solve them, and we make a spe- ^ .p^^ 28.00 

gjiiiiittiigitiiBii^^ iMMiffltMiii^^ 


16 nim. Projector 
(regardless of 
make or model) 

PLUS . . . 

(V^' rK<^ 

PICTURE UNIT— that attaches in a mo- 
ment, WITHOUT TOOLS, to any pro- 
jector — that runs all-talking as well as 
synchronized music subjects — that plays 
through an ordinary phonograph or a 
standard radio set — AND $ >| r\ 00 


enables you to shoiv . . . 


AND AS FOR SUBJECTS ! ! ! ! An unusually complete library of ex- 
clusive films and discs— RECORDED SIMULTANEOUSLY BY THE 
LATEST PROCESS — is being "shot" by professional producers of 
recognized standing. Stage and screen stars talking and singing right 
in vour own home ! 

DEALERS : This is one of the most 
important announcements made 
in the home field so far! Write or 
wire for details. 


220 W KST 12nd STREET, NEW YORK, N. Y. 

T the dawn of this century 
there came into semi- 
public use a fearful and 
wonderful piece of mechanism 
that, for several years, kept the 
average man in a state of alarm. He would 
have nothing to do with it. If he saw a trained 
mechanic operate it he gave it a pretty wide berth, 
when he met it in his path; if he ran across friend 
"Bill" or "Cousin Jim" guiding it, he blew up 
in righteous indignation that an untrained person 
would take to the highway with so powerful an 
engine of death. This was the automobile. 
^ Then something happened. Manufacturers 
and dealers realized that this new mechanism 
was capable of general use; they saw that the 
public had to be convinced that the average per- 
son could run it. An intelligent campaign of 
public education went on, a campaign in which 
manufacturers persuaded dealers and dealers, in 
turn, persuaded customers that automobile oper- 
ation did not presuppose a mechanical education. 
By far the greatest part of this education was 
conducted by new owners of automobiles who 
convinced their timid neighbors and friends that 
a man could run one without risking his life. 
The results of this are apparent today and the 
automobile is a human necessity. 
^ Here is a lesson for all movie makers. Far too 
many people think that a movie camera can be 
handled only by a trained photographer or a 
motion picture expert. They are inclined to sniff 
at their friends who embark in amateur cinema- 
tography. They are apt to look on the ownership 
of a movie camera as a piece of fool-hardiness or 
a bit of deliberate swank. 

<I Manufacturers and dealers are doing their 
part. National advertising reiterates that "you 
press the button and we do the rest" or assures a 
prospective movie maker that "what you see you 
get." Two broadclasses of dealers — photographic 

and music — are educating the 
public every day to the realiza- 
tion that amateur movies are 
open to everyone. We amateurs 
have not yet undertaken our part 
in this campaign of education. 

^ How often do you let your friends tickle your 
sense of importance with silly remarks like: "I 
don't see how you do it! I think it's wonderful 
that you have learned how to Make Movies!" 
or, "Of course, you have had to study photog- 
raphy for a long time?" How often do you come 
back with, "Look here. Bill, this is as simple as 
rolling off a log. Why don't you try it your- 
self?" Are You a Good Missionary.'' 

^ Every amateur knows that there is nothing 
complicated about home movies. He can give 
the A B Cs of his hobby in five minutes. He 
knows that good movies are as certain as next 
Christmas if the button-pusher will be eternally 
vigilant about: 

Exposure, Focus, Steadiness 

^ He knows that His OWN poor pictures come 
from carelessness about one of these three ele- 
ments. He knows that a hundred per cent per- 
fection in these three bogies of the movie maker 
means pictures of which anyone can be proud. 
He knows that an amateur who has conquered 
these obstacles is an amateur ready to go in for 
real movie art. 

Have You Told Your Friends About It ^ 
^ Have you done your share in the campaign of 
public education about this new method of 
human expression? Have you tried to multiply 
yourself by four or five in the amateur movie 
movement? Are you helping to remove "ama- 
teur movie shyness" as you did a quarter century 
ago to remove "automobile shyness?" Do you 
let your friends try out your camera as you used 
to let them try out your car? 

Are You A Good Missionary? 

A Word About the Amateur Cinema League 

THE Amateur Cinema League is the international or- 
ganization of movie amateurs founded, in 1926, to 
serve the amateurs of the world and to render effec- 
tive the amateurs' contribution to cinematography as an art 
and as a human recreatoin. The League spreads over fifty 
countries of the world. It offers a technical consulting 
service; it offers a photoplay consulting service; it offers 

a club consulting and organizing service: it conducts a 
film exchange for amateur clubs. Movie Makers is its 
official publication and is owned by the League. The direc- 
tors listed below are a sufficient warrant of the high type 
of our association. Your membership is invited, if you 
are not already one of us. 

Amateur Cinema League, Inc., Directors 



Hartford, Conn. 


Director of the National 

Association of Br 


Chairman, Board of Directors 
Hudson Motor Car Company 

Architect, of New York City 


30 E. 42nd St., New York City 


Manager of Personnel and Training, 

Standard Oil Co. of N. J. 

Managing Director 
ROY W. WINTON, New York City 



1711 Park St.. Hartford, Conn. 

Director of Recreation, 
Russell Sage Foundation 

Scientist, of Litchfield, Conn. 

Address inquiries to AMATEUR CINEMA LEAGUE, Inc., 105 West 40th Street, New York, New York 


JM/mRCH 1929 



Dr. Kinema Has Told the Boys His Camera Is a "Star Detector" and They Are Searchin 
For the Stars Through the Lens. 



Musings on an Effort to Solve the Greatest of Cine Problems 

SOMEBODY said a while ago that 
what this country needs most is 
a good five cent cigar. I don't 
like five cent cigars, and so I cannot 
wax eloquent on that matter. How- 
ever, amateur cinematography also 
has a great need and what we amateurs 
need most are interesting films. 

It has been my misfortune lately 
to have had to sit through a run of 
horribly dull amateur 
films. What on earth the 
makers of these films had 
in mind when they went to 
the trouble of shooting 
and then titling them fills 
me with wonder. To be 
polite in one's comments 
after a couple of hours of 
these awful exhibitions 
taxes my abilities to the 
limit. I am, therefore, 
moved to discuss this im- 
portant matter in these 
pages where we all fore- 
gather once a month. 

All of us must have ex- 
perienced that ominous si- 
lence which greets a hint 
that it might be nice to 
screen some favorite films. 
In my own case it used to 
be that my family were the 
only ones to openly exhib- 
it a belligerent attitude 
when the idea was broached of look- 
ing at a film that had been shown two 
or three times. One's friends were 
inclined to be polite and gently, 
though more or less firmly, change 
the subject. But times have changed. 
Today, if one ventures to suggest 
looking at something that has been 
shown one gets the same reception as 
tliat meted out to the chap who tries 
to repeat an old story. The remarks 
incline more to the frank rather than 
to the polite. 

I fell to thinking about this seri- 
ously. I realized that there was abso- 
lutely no use bankrupting myself con- 
tinually shooting new stuff in an effort 
to satisfy the demand for something 
to screen. Rather, I should find some- 
thing that was interesting and would 
remain so, at least for several screen- 
ings. This led to the age old ques- 
tion, what is it that constitutes an in- 
teresting film? 

Is it marvelous photography? Is it 
composition? Is it absorbing plot? 
Is it the dramatic? Is it the unex- 
pected? Is it the artistic? I analyzed 
each of these in terms of my own fam- 
ily and friends. 

By Dr. Kinema 

Illustrated by Alan Dunn 

Judging by my own experiences 
with a hyper-critical and quite force- 
ful family, and a line of peculiarly 
frank and hard boiled friends, I made 
up my mind that it was not any single 



Is It Marvelous Photography?" 

one of the things mentioned. For 
example, my pictorial reel, a creation 
that I positively rave over secretly, 
contains marvelous photography — in 
spots. I know good exposure and 
good lighting when I see them, and I 
had heaps of both — in spots. Not so 
blamed spotty at that, for I venture 
that I made par in considerably more 
than half of the eighteen holes, so 
to speak. Nevertheless, I am certain 
that, were I to ask the family tonight to 
sit through that pictorial, they would 
gag. Isn't it funny! I could sit through 
that reel once every evening for the 
remainder of the winter. Of course, 
I made the film, and, as the cigarette 
advertisement states, that does make a 
"whale of a difference." 

As for composition, that is my 
strangle hold. I can bring tears to 
the eyes of a cigar store Indian witli 
my composition. I read every word 
printed on composition. I eat it up. 
this composition stuff. Movie Mak- 
ers runs complicated diagrams about 
it every now and then. Circles and 
triangles and queer things. I have 
difficulty in applying these in the 
field, but, just the same, I can tell 

when the picture balances up and 
possesses those elements of satisfying 
arrangement which we call compo- 
sition. My pictorial drips composi- 
tion, and yet the family will not sit 
through it more than once in two 
months. No, it's not entirely com- 

Absorbing plot? I feel the same 
about absorbing or absorbent plots 
as I do about five cent ci- 
gars. They bore me. The 
nervous strain incident to 
worrying through four 
hundred feet of heart- 
breaks on the part of the 
beautiful young girl who 
jumped to a wrong con- 
clusion, leaves me clammy 
and inspires a yearning to 
go home. I have troubles 
enough of my own, what 
with paying the Christmas 
bills, fighting the flu and 
financing my panchro- 
matic requirements, with- 
out taking on those of 
the foolish but beautiful 
young person who could 
have saved the whole thing 
and several hundred feet 
of perfectly good film, by 
asking one simple ques- 
tion. So, I discard the ab- 
sorbing plot business. 
The dramatic ? Here we have some- 
thing. I notice every now and again 
a strong dramatic note in some of 
the films I see. I suspect it is en- 
tirely accidental. I know positively 
it is in my own case. It appears to 
follow certain strong pictures when 
the sequence of the pictures has a cer- 
tain element of struggle. I am not pre- 
pared to state definitely, yet, just what 
makes the dramatic. It appears in 
scenes in which human participation 
is completely lacking. I have some 
shots made in a terrific gale, with all 
the trees bent over and things flying 
through the air. When this picture 
is led up to in a certain way, and 
followed up in a certain other way, 
the dramatic effect invariably brings 
applause. Yes. there is something 
here worth looking into. 

The unexpected? There is also 
something in that. I have noticed 
upon several occasions that the fam- 
ily gave more or less reluctant voice, 
yet voice withal, to complimentary 
comment after screening something 
that possessed the unexpected. More 
of this anon. 

The artistic? I'm stumped here. I 

]tl/%R<~H tt:s** 

know there is something in this artis- 
tic business, just as there is something 
in pictorial composition. I have stud- 
ied it more than anything else except- 
ing exposure, lighting, composition. 


reunions, club outings, bathing par- 
ties, company outings, the building 
of the new house, the development of 
the farm, daughter's wedding, son-in- 
law's sister's wedding, our children, 
our children's children, 
relations, visitors, and 
the horses, dogs and 
cats. Quite a galaxy. 
And, notwithstanding, 
not one blooming reel 
in the bunch that the 
family will look at, un- 
less strangers come in, 
when we seize upon 
them avidly. 

In every one of those 
humidor cans lie bur- 
ied any number of per- 
manently interesting 
bits. To view them, 
however, it is necessary 
to wade through the en- 
tire reel, and that is just 
where the shoe pinches. 

focus and six or seven other 
things. While I think I have 
certain hazy ideas as to what 
is and is not artistic, at least 
according to my variety of eye- 
sight, yet I find myself hope- 
lessly off the track when it 
comes to the weird, fever- 
dream stuff that some of the 
writers in Movie Makers deal 
up to us. Either it is left out 
of me altogether or I am in- 
capable of getting sufficiently 
hipped. And so I say, no. I 
dare not trust to the artistic in 
building a film for my direct- 
dealing family or my hard 
boiled friends. 

My particular relatives are 
strictly of the earth earthy. 
By that I mean that they are 
extremely sensible when it comes to 
art form in cinematography, whatever 
that may mean. The artistic positively 
will not stop them yawning when they 
get bored. 

I thus reviewed the ingredients of 
an interesting amateur film. When 
I had reached this stage, I decided 
that tliere was no use theorizing any 
longer. The thing to do was to try 
an experiment and find out what the 
actual results would be. This required 
taking radical steps, and I confess it 
needed several winter evenings to 
bring myself to take those steps. I 
reasoned thus: 

Yonder stand over forty humidor 
cans each containing from three to 
four hundred feet of choice sixteen 
millimeter film. Among them are all 
my travel pictures, my yachting logs. 
all my trick stuff, my photoplays, 
fishing trips in the North, my beloved 
pictorial and marine stuff, all my class 





So, I thought, why not 
take out those interest- 
ing bits and build a 
reel out of them, and 
call it a News Reel? 

It meant mutilating 
my precious library of 
films, the effort of years 
and heaven only knows 
how much money and 
hours of labor. Yet 
what was the alterna- 
tive? Of what use were 
they spending their 
lives buried in humidor 

I finally brought my- 
self to it and started 
with scissors and splic- 
er. I almost shed tears 
at first, cutting out my 
dearest bits. But as the work went on 1 
became hardened to it, as one will, and 
I grew to be able to cut and slash as 

though it were the other fellow's film. 
I titled each scene and gave it a 
date line, just as they do in the theatre 
news reels. I gave no particular 
thought to the sequence of the scenes 
but found the surprising dramatic pos- 
sibilities already mentioned. 

When I had my first reel built it 
ran approximately like this. "HOL- 
LYWOOD. CAL. — A movie director's 
idea of an attractive home." Then I 
showed that queer business in Hollv- 
wood with the peaked roof, the prop 
holding up the roof and the moat in 
the front yard. Next came, "NOR- 
FOLK. CONN. — A summer after- 
uoori." Here I showed some cows 
grazing in a meadow beside a lovely 
stream, one of mv masterpieces. Next 
A wet and lonely spot." This was a 
corking shot I had made at sea from 
the deck of the Mauretania. Next came 
"LAFAYETTE. LA.— Icing the Sun- 
set Limited." This was a dandy shot 
showing the negro porters throwing 
chunks of ice from the station 
platform to the tops of the 
Pullmans. Next came, "LYME, 
CONN. — An old Colonial 
homestead built ichen the Brit- 
ish flag waved over Connecti- 
cut." It showed one of those 
lovely old Connecticut farm- 
houses covered with honey- 
suckle all in bloom, and sway- 
ing gently in the breeze. 

Next came, "SANTA BAR- 
BARA. CAL. — I told these 
hors my camera ivas a 'star de- 
tector'." I showed a corking 
close up of two boys peering 
into the lens of my camera 
searching eagerly for the stars. 
They were one hundred per 
cent unconscious of the 


camera, and the shot never fails to 
get a laugh. Next, "HUNTINGTON, 

{Continued on page 180) 

lO-VIE IM /% K C R S 


Three Practical Methods for Synchronization by Amateurs 

IN this age of invention there 
is no reason why the amateur 
should not enjoy the pleasure of 
making his own sound movies. Re- 
cent experiments carried out in Brook- 
lyn, have demonstrated the feasibility 
of doing tliis work with entire satis- 

By Herbert C. McKay, A. R. P. S. 

he does this again and steps out of 
the picture. The actor then carries 
out his action and speech. At the end 
of the record, the camera is stopped. 

Miss Fanny Liveright of Newark and 
Mrs. H. C. McKay of Brooklyn. 

The next step is the introduction 
of electric recording and reproduc- 
tion. In this work the family radio 
"bug" will shine. In addition to the 
material already mentioned, the fol- 
lowing equipment is necessary : a 
transmitter "button", the inexpen- 
sive experimental microphones 
sold by radio and electrical 
stores; a radio amplifier such as 
is used for phonograph reproduc- 
tion ; a small paper cone from an 
old speaker and a complete radio 

The transmitter button is fas- 

faction. It is true that there may 
be many a slip, but harsh indeed 
are the friends who will not over- 
look slight mistakes in amateur ' 
productions. t 

For the first experimental meth- ; 
od, any sixteen millimeter camera 'i 
may be used. For recording, the | 
self recording wax disc records 
now on sale are very good, al- 
though they do not run very long. 
The synchronization is made upon 
phonograph records because the 
delicate and complex equipment nec- 
essary for recording sound on the film 
has not yet been made practical for 
amateur use. 

The simplest system is as follows. 
The bracket of the recording horn is 
fastened to a small, portable phono- 
graph. This phonograph is placed 
upon a table, which is in turn placed 
in the camera field. The camera is 
wound and placed upon a firm tripod. 
The actor takes his place before the 
horn, with his finger upon the control 
lever of the phonograph. The director 
counts, "One — • two — three ! " At the 
word "three" the actor starts the pho- 
nograph and the director starts the 
camera. The director continues to 
count seconds, while keeping track 
with a watch. At the count of "five" 
an assistant claps his hands together 
sharply, just in front of the horn of 
the recorder. At the count of "ten" 


Medium Shot and Closeup the 

for Talking Your Own 


First Method De: 

The film is finished in the usual man- 

In reproducing this film-record 
combination, the two claps spaced five 
seconds apart give the synchronization 
time. The projector is set at the start 
of the film and the record at its start- 
ing point, each of which is marked. 
Both machines are then turned on. If 
the sight and sound of botli hand claps 
coincide you will know that synchroni- 
zation has been established. If not, 
the speed of projector or turntable 
must be altered until both claps do 
coincide. When this is done the set- 
tings of the two machines may be 
marked and further attempts will be 
easily synchronized. 

This was the method used in the first 
attempts at amateur synchronization, 
made by J. 0. Kleber, James Frank. 
K. A. Barleben. Jr.. and the writer. 
Feminine voices were recorded In 

lened to the apex of the cone and this 
is supported just outside the camera 
lines. The transmitter feeds through 
the amplifier into a radio loud speaker 
unit. This unit is attached to the re- 
corder of a dictating machine, as the 
ordinary self-recording records are 
too soft to bear the weight. The 
action is now carried out as has al- 
ready been described. Due to the 
pickup used, sounds from several feet 
distant will be recorded upon the rec- 
ord. This allows full action within 
the camera lines, and gives a great 
improvement over the first system 

In these two systems, the film is 
exposed for six or eight inches to a 
black card with a large white cross 
drawn upon it. This serves as a start- 
ing marker. The soft wax of the record 
is scratched across to the outer edges 
(Continued on page 189) 

»I/%RCH 1929 


Let's Take Stock 

FILM DAILY, a leading trade 
publication in the commercial 
motion picture field, has pub- 
lished its annual list of the ten best 
photoplays of 1928, as established by 
the votes of 295 critics, representing 
326 newspapers, twenty-nine trade 
and fan publications and three news- 
paper syndicates. Presumably tile 
general magazines are not represent- 
ed. This selection may be assumed to 
represent the personal choices of the 
295 voters and would, therefore, ap- 
pear to be an evaluation from intel- 
ligent men and women who are steady 

The list follows, with the votes re- 
ceived by each: The Patriot, 210: Sor- 
rell and Son, 180; Last Command. 
135; Four Sons, 125; Street Angel. 

for the Cintelligenzia 

Edited by Roy W. Winton 

124; The Circus, 122; Sunrise, 119; 
The Crowd, 105; King of Kings, 
ninety-nine; Sadie Thompson, ninety- 

An honor roll of forty-nine films, 
with Lilac Time leading with eighty- 
eight votes and Quality Street tailing 
with ten (Air Circus. Hang/nan's 
House. Harold Teen and Ivan the Ter- 
rible also received ten votes each), is 
published by Film Daily, made up of 
films below the leading ten. 

This department is not designed to 
point out the exceptional pictures, the 
"best" pictures (if that phrase has any 

from His Superb Characterisation of the 
Mad Cjar in The Patriot. 

Scenes from The Patriot, the Paramount-F 
Lasky Film which the Critics Have Voted the 
Yet Made. 

meaning) or the undesirable pictures 
from any point of view. It exists solely 
to inform the intelligent movie-goer 
about those pliotoplays which, in our 
opinion, he can see without his intel- 
ligence being insulted. The critics' 
vote is taken, presumably, on a wider 
basis. Yet it is not unprofitable to 
compare the recommendations in 
Photoplay fare with the critics' find- 

Of the critics' ten best, Movie Mak- 
ers recommended six: The Patriot. 
Sorrell and Son. Last Command, 
Street Angel, Sunrise and The Crowd. 
We agree with the critics — although 
our announcement was instantaneous 
and made before the critics had voted 
— that The Patriot is the greatest 
photoplay yet produced. On those we 
did not recommend a word or two may 
be in order. 

Four Sons we considered banal. It 
was a story of maternal affection and 
devotion with a war setting and, in our 
opinion, was a less interesting photo- 
tale of this type than Mother Machree, 
in which the mother had, as we saw 
it, a more individual and sprightly 
personality, both in the tale itself and 
in the filming. The Circus had nothing 
cinematic to recommend it; that is, it 
was told in the antiquated technique 
of the photoplay of five or ten years 
ago. The story itself was negligible. 
Chaplin was — Chaplin, and that is al- 
ways wortli-while but he was not a 
new or an interesting Chaplin as com- 
pared to his earlier portrayals. It was 
superbly mimetic but without any 
evidence of an advance in the quality 
of his intelligence or his acting. King 
of Kings was done, as we saw it, in the 
{Continued on page 187) 


M 0'%' WW. 

[ ;« lA E R s 



Edited by Louis M. Bailey 

Kitchen Mechanics 

PROFESSIONALS may have some 
justification in claiming, as they 
have been known to do, that home 
movies are half baked, if we remem- 
ber the frequent proximity of amateur 
production facilities to the kitchen. 
However, in perusing a list of current 
Hollywood "technical terms" (we 
dare not refer to these sacred phrases 
as slang) one might conclude that the 
superest of super features is not 
without a culinary taint, as well. We 
place the following examples in testi- 

"Cook the Opera" — Preparing a 
story for motion picture production. 

"Casaba" — A one stand light. 

"Burning One" — ^To throw extra 
strong lights on one in photographing. 

"Finger Wringer" — An actress 
given to emoting. 

"Feed the Broads" — Means that 
the carbons are to be reset by opening 
and closing the control switch. 

"Coffee Grinder" — The camera. 

Tinkle Bell!! 

HERE'S one from Amateur Films, 
official publication of the Ama- 
teur Cinematographers Association of 
the United Kingdom. And to think 
we'd almost forgotten Peter Pan ! 

"Such a dinkie hint for you, dears. 
Steal a few bits of Hubby's waste 
film, run a silk thread through the 
perforations, and they will make such 
darling and unusual shoulder-straps. 
Just a word of warning though; when 
choosing your film do make sure it 
has no splices." 

Just a whimsey! 

Shades of Barbara Fritchie! 

THIS month's most amusing ama- 
teur filming story seeped into the 
public press from Fredericksburg, 
Virginia. It seems that there stray 
dogs, instead of being killed, are kept 
safe and sound, and once a year sold 
at public auction, the custom having 
been in vogue in pre-revolutionary 
days and revived a few years ago. 
Since the arrival of amateur movie 
cameras in popular favor these events 
have been the occasion for a wide- 
spread pilgrimage of film fans from 
far and near, bent on adding this pic- 
turesque ceremony to their records. 
But this year, at the last moment, it 
was discovered with horror by Fred- 
ericksburg authorities that there was 
not one vagrant pup in the city pound. 

The dire consequence to Fredericks- 
burg's reputation among the waiting 
movie fans was fully realized. Some- 
thing had to be done! And it was. 
Sixty-five dogs were placed on the 
block and knocked down to the highest 
bidders. Cameras whirred and the 
visitors went home satisfied. 

They may never know that all the 
dogs were borrowed and that by mu- 
tual consent each was bid in by its 
legal owner! 

Perils of Polly 

' I '0 continue with prophecy of the 
-'- embarrassing possibilities of mak- 
ing one's own home talkies, the intro- 
duction of a talking parrot to the 
microphone would add a disturbing 
aspect to the situation. Polly at any 
moment might speak a piece of her 
mind not suitable for drawing room 
consumption. At any rate, it would 
require a brave director to thus tempt 


■pvURlNG a recent filming of the 
■■-^ sound sequences of a Hollywood 
production it was found, according to 
report, that the snores of someone 
asleep just olF the set registered in the 
synchronization, and a retake was nec- 
essary. We don't know who the of- 
fender was, but if the talkies are going 
to require that directors keep awake 
they may be of some value in the 
upward trend of the movies, after all. 

Oh Aroma! 

TJERFUME as an aid to acting is 
^ the latest Hollywood rage. Phyllis 
Shaver reports she cannot emote with- 
out Le Bleu Debut to spur her on, and 
Elinor Flynn is said to claim that Nuit 
de Nuits is the secret of It. We merely 
rise to inquire just what the efi'ect 
would be on a home movie production 
if the odor of corn beef and cabbage 
were wafted from the kitchenette? 

«■ %K«^H I929 


A Discussion, for the Beginner, of Various Ways of Using Light 

By Arthur L. Marble 

A VISION of Tahiti flooded the 
screen. Cocoanut trees, smil- 
ing sky and laughing waters. 
From the grey sands a path extended 
up to a cloud-riding sun, 
caught in the act of drown- 
ing his troubles under warm 
tropical seas. The scene 
was viewed by two amateur 
movie makers, Travis and 

"What beautiful films!" 
exclaimed Travis. "\ ou rt 
a veteran, tell me how it's 

"That scene," said Drex- 
el, "is simply an example 
of a silhouette. It was made 
by breaking the well known 
rule of the tyro, namely, 
the light source should al- 
ivays be behind the camera. Like 
many rules in the English language, 
the exception in this case is important 
as the rule itself. In those Tahitian 
films a veil of clouds protected the 
camera lens from the direct rays of 
the sun. which, as you know, cause 
halation or fogging of the film. To 
a violation of the rule, have the sun at 
your bach, we 
owe many of our 
best pictorial 
films. If we were 
to see straight- 
lighted films 
constantly, they 
would become 
monotonous as an 
Arctic night. 
What we want is 
variety in light- 

"Just what do 
you mean ? 
queried Travis. 

"Here is a 
scene from Fox's 
Tumbling River. 
( Figure 1 ) The 
main source of 
light is behind 
the camera, the 
c o n V en t i onal 
thing. A good 

clear picture, yes; I am not decrying 
the style, but I do say if we saw this 
kind of lighting exclusively, we would 
tire of it." 

"Can you show any examples of 
what you mean by varied lighting?" 

"I think so," said Drexel confi- 
dently as he thumbed his portfolio of 
movie stills. "This one is from the 
Universal picture. The Phantom of the 




(Figure 1) Conventional Lighting, as in This Scene from Fox's Tumbling 

Rirt-i-. Becomes Tiresome Unless Varied; Center. (Figure 2) Artificial Lights Made 

this Attractive Backlighted Closeup from Universal's Phantom o/ the Opera Below 

(Figure 3) This Same Halo Effect was Secured in Longshot with Natural Light in 

Paramount 's Under the Tomo Rim. 

Opera. {Figure 2) Here, as you 
see, the light source is in front of, and 
above, the camera. Luckily, the elec- 
tricians were careful enough to place 
the lights sufficiently high, so that no 
direct rays entered the camera lens. 
Back-lighting gives a roundness, a 
kind of suffused softness and lumi- 
nosity, that constitutes one of the 
charms of the close-up. This type of 

lighting is capable of being modified 
in infinite ways. Let me say, however, 
that there is a danger attached to its 
use. If the lights are too harsh, or 
improperly placed, back lighting may 
be extremely distracting. We wit- 
nessed such a distraction in the 
theatre this very night. The particu- 
lar scene I mean showed a couple con- 
versing together. Either the lights 
were too strong, improperly placed or 
faulty in some way. for whenever the 
hero began to talk, his teeth reflected 
the light in such a way as to give an 
appearance of light- 
ning in his mouth. 
In the use of back- 
lighting we should be 
careful to avoid this." 
"But," said Travis, "is 
artificial light a neces- 
sity in obtaining a 
pleasing variety in 
our films?" 

"Not at all. We 
may have the sun as 
the light source, at 
any angle in front of 
us so long as we do 
not permit direct rays 
to enter the camera 
lens. By the use of a 
hood over the lens, or 
by shading it with a 
hat or other object, we 
make pleasing films 
with the sun in front. 
Take for example this 
print from the Para- 
-^ mount picture. Under 

the Ton to Rim (Fig- 
ure 3). The sun in front gives lots 
of snap and brilliancy to the picture: 
notice the stereoscopic manner with 
which the cowboys and the large cov- 
ered wagon appear to stand out 
against the smoke of revolver-fire. 

"Oh, I was hoping to come across 
tlie snow scenes, and here they are. 
A point or two may be of interest to 
you before your next mountain trip. 
This still is from the First National 
Picture, Three^s a Crowd (Figure 4). 
The sun is shining faintly on the set, 
if at all, for there are no shadows. It 
was thoughtful of the director to film 
the scene with the sun behind the 
clouds, else the movie houses might 
be turning out some mild cases of 
snow-blindness. Now, with the sun 
shining on snow, it is best not to have 
it directly above or behind the camera 
What is needed is a modification of 
the dazzling brilliance. This is best 
accomplished by means of shadows. 

MOWIC IM /% 1^ C R » 

This other still from Snoived In, a 
Pathe serial {Figure 5), shows how 
useful a low side-lighting may be in 
casting long agreeable shadows over 
the bright snow. 

"And now, Travis, let me ask you 
a question. If you were going to tell 
me one of Edgar Allan Poe's grue- 
some stories and were given a choice 
of conditions under which to tell it 
with the maximum effect, what hour 
would you prefer?" 

"It is certain I would not choose 
high noon. I would rather we were 
seated in a darkened room before a 
feebly-burning hearth that threw 
long skitty shadows over the walls." 

"Now look at this still (Figure 6). 
Do you recognize it?" 

"No, I have never seen it." 
"Can you guess the theme of the 
story from which it comes? 

"Well, you're right. The scene is 
from the film version of Universal's, 
The Cat and the Canary. By the use 
of a few scenes like this, Travis, 
you could shift the mood of the 
average audience from one ot 
gaiety to that of spooky solemnity. 
"It goes without saying that 
much of the eye appeal of our 
movies is created by the kind of 
lighting used. In composing a 
melody, the musi- 
cian chooses a theme 
and repeats it in 
many and varied 
combinations. With- 
out the introduction 
of new harmonies, 
new twists, or new 
instruments in the 
theme, the melody 
would seem dull, in- 
ert, lifeless. The 
same is true of our 
amateur movies. No 
matter how well we 
may like a particu- 
lar kind of lighting, 
it will not do to use 
it exclusively. We 
should aim for 
enough difference of 
light handling in 
film sequences so 
that the viewer may 
find something new 
to delight the eye 
every minute. If 
lighting is restrained 
it will not interfere 
with the story, and 
your audiences, besides getting a 
thrill out of the action, will contin- 
ually find new patterns of light and 
siiade that will cause them to exclaim, 
as you did to-night, 'What beautiful 
photography!' " 


Notes on "Variety in Lighting" 

By Russell C. Holslag 

Technical Editor 


THE foregoing should be a definite 
stimulation to the amateur who is 
seeking to improve his results. It 
should demonstrate to him the value 
of the "seeing eye" in observing pro- 


SNOW sc:enes and shadow y shots 

vc. (Figure 4) Mild Lighting Gives the Best Snow Effects, as 
d in this Still (rom First National's Three's a Crowd. Center, 
5) Long Shadows Relieve Brighter Lighting in Pathe's Siww 
w. (Figure 6) Lights which Cast Shadows Give Eerie Effects, 
Universal's The Cut and the CaTiar>. 

fessional screen effects, and of analyz- 
ing these effects thoughtfully to the 
end that he may translate them into 
his own medium. This does not mean 
that he must possess the elaborate 
equipment of the studios; it means 
rather that he takes the principles thus 
set forth — their feeling, their at- 

mosphere, and by care and ingenuity 
uses them as a basis for his own work. 
This is what it means to observe with 
the "seeing eye." 

The practical working out of these 
suggestions is achieved through the 
observance of a few basic principles. 
The film picture on the screen has only 
the dimensions of length and width; 
it is given an apparent depth largely 
through proper 
lighting. The flat, 
toneless picture 
we see loo often 
on the amateur 
screen is simply 
the product of 
lack of thought. 
Learn to culti- 
vate, for sheer im- 
provement's sake, 
the spirit of in- 
genuity which 
competition forc- 
es the profession- 
al to adopt. Look 
at Figure 1. The 
light source is be- 
hind the camera, 
true, but a little 
to the left. This 
casts a slight shadow on the hands 
and body, and gives the effect of 
roundness. Then, too, the figure as 
a whole stands out from the back- 
ground because the latter is dark. 
This is because its distance from 
the light source is such that the 
t it reflects back into the lens is 
greatly diminished in intensity. So we 
have our main principle emphasized 
— contrast. And note how this contrast 
gives depth to the picture. The same 
principle is equally empasized in Fig- 
ure 3. except that the relative contrasts 
are reversed, that is, the black group 
stands out against a white ground. 
Note again the impression of depth, 
which lifts the picture out of the flat 
plane of the projection screen. Now, 
the amateur cannot conveniently em- 
ploy smoke pots or extremely deep 
sets, but he can observe the results of 
[heir use and secure these in his own 
way. He can produce contrasts in 
light and shadow by the arrangement 
of his lights, by the proper choosing 
of costumes and of the material in 
his small sets, indoors or out. 

The problem of back lighting, too, 
is not difficult of solution for the 
thoughtful amateur. The scene in 
Figure 2 is back lighted from two 
sources, one of which produces a 
contrasty halo on the lady's dark hair 
and lights up one side of her partner's 
face, while the other source, of lesser 
intensity, is from the opposite side, 
defining her profile and the contour 
of her face clearly against the gray 
background. In both Figures 1 and 2. 

(Continued on page 189) 


Itl^mRCH 1929 


Technical Reviews to Aid the Amateur 

The Viking 


Directed by R. William Neil 

Photographed by G. Cabe 

Color Photography: Technicolor 
is used throughout and amateurs can 
gain many suggestions for color com- 
positions in their own natural color 
films while film story producers will 
obtain ideas for the use of color film 
in telling their stories in motion pic- 
tures. The effectiveness of the close- 
up in color film is made evident. 

The Night Watch 

First National 

Directed by Lajos Biros 

Photographed by 

Karl Struss, A.S.C. 

Special camera effects by 

Alvin Knechtel, A.S.C. 

Story Telling Method: The story 
of this film is told in flash-back man- 
ner, not a new idea to 
be sure, but interesting 
in this particular in- 
stance because it is 
done so well. The story ,^ 

opens with the French ^ 

cruiser, Lafayette, re- 
turning victoriously 
from a naval engage- 
ment to her berth at 
Toulon. She has been 
badly damaged in the 
encounter and high offi- 
cials of the French navy 
during their tour of in- 
spection of the ship 
come upon the body of 
a ship's officer who has 
been slain in the cap- 
tain's cabin. Circum- 
stantial evidence points 
to the captain as tbe murderer and he 
is court-marshalled. During the trial, 
an eve-witness to the murder begins 
to relate how it occurred and the film 
then returns to the departure of the 
cruiser from Toulon and tells of the 
events that subsequently transpired up 
to the point where the story was first 
revealed to the audience. Amateurs 
could apply this method to many of 
their films with effectiveness. 

Miniature Sets: The scenes of 
the battle cruisers in action and of 
the Lafayette steaming through the 
dark night are done with model ships 
in a tank and the lighting and slow 
motion work is handled so efficiently 
that the effects are extremely realis- 
tic. Amateurs can do similar work 
with certain types of miniatures. 
True enough, complicated miniatures 
such as villages built to scale, etc., 


Edited by Arthur L. Gale 

PhotogTiiphi by Fint >Ifll 

al Camera Effects in The N-ght Watch 
ed By Means of the Swing Frame Shown 
Two Sides. Why Not Try It With the 
Children's Swing? 

are too difficult for most amateurs 
to attempt, but railroad trains, ships, 
etc., can be used easily. As most of 
the scenes are done in close-up, a 
tub of water, a few artificial lights, 
a toy ship and slow motion or semi- 
slow motion camera speed are all 
that are needed for producing some 
realistic effects. 

Moving Camera: In the court 
room scenes the eyes of the Chief 
Justice search the main floor and 
the balcony of the courtroom for 
witnesses during the trial. The cam- 
era lens, emulating the eye, swings 
hither and yon giving the feeling to 
the audience that they, too, are 
searching the crowded courtroom. 
This is repeated several times 
through the same scene. Again, as 
various witnesses take the stand, the 
camera assumes a position high up 

in the balcony in the back of the 
court and looks far down on the wit- 
ness stand and the justice presiding 
at his desk. The camera moves down 
on a cable and passes closely over 
the witness on the stand, coming to 
a close-up of the Justice speaking, 
thus bringing the audience, as spec- 
tator, right into the center of the 
events taking place. 

Dissolves; Double Exposures: 
A most interesting use of the lap 
dissolve and double exposure is 
shown when the captain's wife in a 
cabin of the battle cruiser looks from 
the porthole and realizes that the 
ship is under way. There is a dis- 
solve to a close-up of the porthole 
from the exterior of the cruiser and 
then a series of scenes where the in- 
terior of the cabin and the action 
going on in it are double exposed on 
a number of dissolving scenes of 
the ship plowing ahead, 
close-ups of its guns 
and other accoutre- 
ments, and then a final 
dissolve back to the in- 
terior of the cabin. 

Double Exposed 
Titles: An interesting 
use of titles is shown by 
having the action from 
a scene just previous to 
the title continue on 
through the title, being 
^ double exposed on it 

and progressing as the 
title fades out. In this 
particular instance the 
battle cruiser is filmed, 
^^^ steaming from left to 

'^^ g right on the screen, and 

its continuation in back 
of the title prevents a break in the 
thought and action by the intrusion of 
a title at this particular point. 

The Street of Illusion 


Directed by Earle C. Kenton 

Photographed by 

Joseph Walker, A. S. C. 

Extravagance: In this film one 
sees the device of a moving camera 
used to such an absurd degree as to 
serve as a real warning against the 
extravagant use of this undoubted 
cinematic servant. The camera pauses 
before a door, opens it, goes through 
a hall, enters a curtained arch, then 
another curtained arch, passes toward 
a man and then gives a close-up of 
him. This method, theoretically 
sound, is discovered by actual obser- 
vation to be heavy and ridiculous 
^vhen over-employed. 

I /k 14 E R 9 


Two "Ds" — and a Third 

WHEN at last you have come 
upon the ideal location; 
when you have waited until 
the lighting is just about right; when 
you have discovered a camera angle 
that seems to give you little short of 
perfect picture composition; when 
you have your little cast on the qui 
vive for the first cue — in short, when 
you are, as you think, fully prepared 
to shoot, then is the time to recall the 
important formula of the Two Ds. 
No matter how careful you may have 
been in giving attention to every pre- 
vious detail, this little formula will 
always check up for you, and give 

you confidence to proceed serenely. 
And the formula means, simply. Dis- 
tance and Diaphragm. For without 
proper attention to these two factors, 
all your painstaking preparation 
might never be recorded on the film. 

The first D — Distance — should im- 
mediately cause you to ask yourself, 
"Have I focused correctly?" Of 
course, in some cases, this particular 
D is fixed in the camera, so that you 
may think it unnecessary to fix it in 
your mind, but it applies nevertheless. 
If you are using a fixed focus camera, 
do not allow the subject to approach 
too near. Make use of judicious close- 
ups to center attention, using the por- 
trait attachment. But if the camera 
is equipped with a lens in a focusing 
mount, careful attention to our first 
D becomes nothing less than a law. 
Your focus must be correct if you 
expect to project a clean, definite pic- 
ture with sharp outlines, and to ac- 
complish this, you must remember the 
D that stands for distance. 

Then there is the second important 
D — Diaphragm. What does your ex- 
posure meter indicate? Is Old Sol 
showering down his actinic rays in 
bounteous profusion, or is he sulking 
behind a mist or a cloud? Will you 
have to open your lens to / 3.5 or 
larger, in order to coax your film to 
record those dark, deep shadows? The 
correct answer to these questions must 
be realized in order to demonstrate 
to posterity the fact that you have 
achieved results as an amateur pro- 
ducer. So, make all your careful and 
interesting preparations, and record 
them surely on the film by the simple 
expedient of remembering the Tiio 
Ds just before you shoot. 

Edited by Russell C. Holslag 

There is still a third D. It is usually 
heard muttered under the breath in 
the darkened projection room during 
the first showing of a film made with- 
out the help of our first Two Ds. 

Keep It Dark! 

THE problem of a non-reflecting 
black paint often confronts the 
amateur when he wishes to make and 
use masks, mask boxes, and all the 
similar home-made appliances which 
give him so much satisfaction in the 
way of individual atmosphere in his 
pictures. Many think of India ink 
for this purpose because of its dead- 
black appearance on a drawing, but, 
when covering a large area, a coating 
of India ink will have a distinct sheen 
by reflected light. Nor is this material 
suitable for covering glossy or metal- 
lic surfaces, as it has a tendency to 
dry and flake off'. However, the prob- 
lem of a black coating may be solved 
in a convenient way by purchasing a 

small can of flat black enamel at the 
nearest paint store. The word "enam- 
el" might give one the impression that 
even the flat black has a shiny surface, 
but such is not the case. This material 
will take on wood or metal and dries 
with a dull finish. In applying, two 
or three thin coats are better than one 
thick one. Wait until each coat dries 
before applying the next. For those 
who desire a special-purpose product, 
there is an excellent dead-black coat- 
ing of finer grain which is marketed 
especially for the photographic field. 

But, whatever black you use, re- 
member that a plane surface on which 
light falls will reflect some of that 
light, no matter how black it may 
appear. The obvious remedy, then, is 
to keep the light away from it as much 
as possible. This is why mask boxes 
are used with masks, their purpose 
being to exclude light from the inner 
surface of the mask, and from the 
space between the mask and the lens. 
The sensitive emulsion cannot diff'er- 
entiate between wanted and unwanted 
light, therefore every precaution in the 
use of black is justified. This applies 
to masks, mask boxes, lens shields, sun 
shades, in short, to any external appli- 
ances which approach or affect the 

cone of light which makes up the pic- 
ture. The flat black paint will help, 
but keep the light away from where 
you don't want it, so that the light you 
do want will have a chance to affect 
the film. The best "black" is the ab- 
sence of light. 

Below, Mr. Epes W. Sargent dis- 
cusses the problem of a dead-black 
background at a distance from the 

A Camera "Cave" 

TROUBLE exposures are made 
■*--' against a black background, but 
a straight background, even of velvet 
or of the flattest black paint, will show 
some reflection, no matter how you 
guard against it. 

In the studios they use a "cave", in 
which reflection is avoided by mask- 
ing the sides, top and bottom. A can- 
vas drop of the desired area is painted 
a flat black, or a drop of black cloth 
may be used. A black floor cloth is 
laid down, and black side and top 
pieces are used to enclose the back- 
ing, the "cave" being at least three 
feet deep. Greater depth, where pos- 
sible, is desirable. 

Working in front of this, you are 
shooting not against a black backing, 
but against a shadow caused by the 
cave, and there will not be the slightest 

In amateur work, it is often pos- 
sible to use for the cave a room con- 
nected with another by double doors. 
Cover the back wall of one room with 
black or very dark cloths of any sort 
and rigidly exclude the light from 
windows or doorways. The result will 
be a velvety blackness that will enable 
you to get perfect results. — Epes W. 

]M/mRCH I929 


William Mitthell. Cameraman, and Rtttor Wotten. Art Director of College Topics Productions 

of the Unncrsitv of Virginia. No^\ Filming The Highe<t Degree 


News of Group Fibning 

Edited by Arthur L. Gale 

Challenging Begins! 

THE march toward the Cine-Sa- 
lon is carried further forward 
by the action recorded in this 
most significant news item, received 
too late for greater elaboration in the 
March issue of Movie Makers. 

This month the Amateur Movie 
Club of Hartford, Conn., will hold a 
competitive cine-salon at which the 
best Hartford amateur photoplay, the 
best Hartford general film and the 
best Hartford color film will be cho- 
sen. Having selected prize-winners 
from its ow n ranks, the Hartford body 
intends with tiiese to challenge the 
Motion Picture Club of New Haven 
and other Connecticut amateur groups 
in order that the state prize-winners 
in these three classes may be deter- 
mined. This will be followed by a 
challenge from the state of Connecti- 
cut to the state of Massachusetts. 
Building on this natural foundation 
the Hartford Amateur Movie Club in- 
tends to foster the idea of regional, 
national and international challenges 
in these three film classes and to work 
for the creation of tlie great Cine- 


Salon of the future. 

W. R. C. Corson is chairman of the 
Photoplay Committee of the club, 
Robert Butler is chairman of the Gen- 
eral Film Committee and William 
Morris, the club's retiring president, 
is chairman of the Color Film Com- 
mittee. A. A. Hebert, treasurer of the 
Amateur Cinema League, heads the 
committee on rules of the contest. 

At the annual Inisiness meeting of 
this active group, Hiram Percy Max- 
im, president of the Amateur Cinema 
League, was elected club president. 
W. C. Goeben vice-president and Har- 
old Cowles secretary. 

Free Scope 

SCRIPT preparation for the first 
photoplav of the Washington Cin- 
ema Club in Washington, D. C, has 
been completed and the picture, the 
title of which has not yet been re- 
leased, will be begun this month. 

The recently formed production 
division of the club of Washington 
amateur cinematographers has been 
experimenting with lighting set-ups, 
amateur made sets and makeup, and 

two hundred foot quickies have been 
filmed to accustom the actors to cor- 
rect screen tempo. An amateur talkie, 
running 200 feet, lias been planned. 
To give the production division free 
scope, it was decided at the last annual 
business meeting of the club to finance 
its activities separateh and to require 
its memliers to attend only the month- 
ly gatherings of the club, witii the op- 
portunity of meeting as a separate unit 
as often as necessary. At this meet- 
ing, H. B. Dellett was elected presi- 
dent; Barry Mulligan, vice-president 
and Landon V. N. Burt, secretary- 
treasurer. Ten Nights in a Barroom, 
a creditable production of youthful 
Washington amateurs, running 800 
ft., 16 mm., and a scenic of the coun- 
try side about Harpers' Ferry, shot 
by Barry Mulligan, were screened. 

Chicago Makes Up 

A T the last regular meeting of the 
*^*- Chicago Cinema Club, members 
were given an opportunity to make 
comparative film tests of subjects with 
and without makeup. A talk on make- 
up and its application in amateur film- 
ing was given. Plans for tlie produc- 
tion of a club photoplay are going 

Virginians Produce 

UNDER the guidance of College 
Topics, student daily, undergrad- 
uates of the University of Virginia 
have organized College Topics Pro- 
ductions which will begin work with 
a synchronized sound picture depict- 
ing the honor system of the University. 
This film story. The Highest Degree, 
written and adapted for the screen by 
Edgar D. Brooke, editor of College 
Topics and also tlie Virginia Reel. 
campus humour publication, will run 
3000 ft.. 35mm. Prof. H. R. Pratt of 
the School of Dramatics will direct. 
William Mitchell will act as camera- 
man. Rector Wotten. art editor of the 
Virginia Reel will have charge of sets 
and Archer Jones, dramatic critic of 
College Topics will write titles. The 
cast will be drawn chiefly from the 
Virginia Players, college dramatic or- 
ganization. Novel camera treatment 
has lieen planned and new features in 
the combination of dialogue sequences 
and cinematics are promised. 

It is stated that recent misrepresen- 
tations of the LTniversity's honor sys- 
tem, which have become current 
throughout the state, have lead the 
newly organized production group to 
present a film version of its true mean- 
ing. In this way. amateur motion pic- 
tures are being used as a means of 
expressing student views to the citi- 
zens of the state, significantly illus- 
trating the value of amateur films as a 
civic medium. 

Professional Praise 

FROM critics, writers, professional 
directors and movie stars came let- 
ters and telegrams of congratulations 
to the Herald Cinema Critics Club in 
Syracuse, N. Y., on the occasion of its 
annual dinner, recently held. The 
"Tri-C," as this active group is known 
in Syracuse, combines in its activities 
both criticism of professional and 
amateur photoplay productions, and 
already has to its credit two amateur 
made films. Six Appeal and Touch- 
down. The latter film was made with 
the cooperation of Syracuse high 
schools. The scenario was written by 
a student and the cast drawn from the 
students of the various schools. Touch- 
down is now having a successful run 
in Syracuse theatres. With the aid of 
Chester B. Bahn, dramatic editor of 
the Syracuse Herald, under whose 
guidance the club has carried its many 
projects to success, both of these ama- 
teur productions have been made on a 
truly civic scale. 

Balanced Program 

A N exceptionally well balanced 
*»• program was screened for the 
thirty-eight amateur fans present at 
the last meeting of the Motion Picture 
Club of New Haven. Featured in the 
screening were: vacation films taken 
by various members, a well edited film 
record of a Rodeo at Cody, Wyoming, 
a film study of state highway construc- 
tion, taken by the engineer of the pro- 
ject, a Hawaiian scenic. The Soul 
Thief, production of Dr. H. A. Heise, 
and the official slow motion films of 
the Yale games, shot by Leroy -G. 
Phelps. With the exception of The 
Soul Thief, all of the films were taken 
by club members. 

Results of the city wide amateur 
movie contest now being held by this 
active club will he reported soon. 

Civic Plans 

' I 'HE annual dinner of the Movie 
-'- Club of Cleveland, Ohio, recently 
held at the University Club of that 
city, was attended by over forty ama- 
teurs. Included in the features of the 
program was the presentation of a 
scenario written by Mrs. Alva L. Leo 
for the club's proposed civic film 
study. After the scenario was read, 
John D. Marshall, Mayor of Cleve- 
land, assured the club of his fullest 
cooperation in filming the project. Dr. 
Louis G. Herrmann presented a con- 
structive discussion of color filters, 
including practical advice on their 
use. The screening of a five hundred 
foot reel of \ itacolor and a film il- 
lustrating the manufacture of liquid 
air completed the program. 

At an earlier meeting. Narrow 
Paths, production of the Markard Pic- 
tures, and a film record of an airplane 
trip from San Francisco to Chicago, 
the work of Jay Iglauer, were pro- 
jected. Officers of the club are: Doug- 
las S. Campbell, president; Joseph H. 
Ramsay, treasurer and Robert Stone, 
secretary. On the club's executive 
committee are : Jav Iglauer, E. G. Hu- 
kill, P. A. Rehr,' A. H. Bemis and 
Richard L. McNelly, secretary. 

Drug Plot 

pLANS for the filming of a 1600 ft., 
^ 16 mm. photoplay, to be entitled 
Dope, have been made by Fred S. Nie- 
man in Chicago, 111. James Hack has 
been selected to play the lead and 
lighting tests have been made. 

Five and Ten Sets 

T TNDER the leadership of A. G. 
^-' Telia, the Providence Film Play- 
ers, lately organized in Providence, 
R. I., have chosen for the club's first 
effort. The Girl From Wool worth's, 
now being scenarized by Leonard 
Hacker. The picture will be made with 
the cooperation of the Providence 
Woolworth Stores where interiors will 
be filmed. A. G. Telia has been cho- 
sen as president of the club; Miss C. 
Fera, secretary; A. Martillucci, vice- 
president and Miss F. Mayor, treas- 
urer. The first production will be di- 
rected by Mr. Telia and filmed by 
Mr. Martillucci. 

Night Club Plot 

\ N announcement comes from the 
**• Shadows Studios, in St. Paul, 
Minn., that the script for their third 
picture has been selected. The story, 
dealing with the rueful consequences 
of mixed identities in a night club, 
will run 400 ft., 16mm., and will call 
for extensive interior sets. Moving 
cameras, dissolves and other cinematic 
devices will be used, cutting title 
lengths to the minimum. If completed 
in time, the film will be submitted to 
Photoplay's amateur movie contest. 

The Shadow s Studios have financed 
many of their purchases of equipment 
and accessories by conducting screen- 
ings for clubs, societies and private 
individuals wishing an evening's film- 
ing. This excellent method of bolster- 
ing the treasury is open to all clubs. 
i Continued on page 190) 

A New Field (or -Amateur Effort Has Been Opened 
of the Owlpen Studios in Bowden, Engia 



How Films are Stimulating the Progress of a Conservative Profession 

By Louis M. Bailey 

BELIEVING in the efficiency of 
films for educational purposes, 
a national program which has 
as its aim revolutionizing one of the 
basic principles of metal construction 
is now being conducted with great suc- 
cess by the Linde Air 
Products Company and 
its associated companies. 
To prove the advantages 
of welding over riveting, 
the older method of joint- 
ing in steel construction, 
is the program which has 
been entrusted to these 
films. Welding, it is thus 
purposed to demonstrate, 
is the best method for fab- 
ricating not only steel but 
all non-ferrous metals as 
well as ferrous and non- 
ferrous alloys. The neces- 
sity for an educational 
campaign on ox-welding 
was occasioned by the fact 
that it is a comparatively 
recent development and 
its use has not yet even ap- 
proached its potentialities, largely 
due, it is said, to the reluctance of en- 
gineers to accept readily any changes 
in their basic and established prac- 
tices. Thus the chief problem con- 
fronting the company is to educate 
the engineering profession in the ad- 
vantages of this newer method. To do 
this the series of films has been pre- 

pared covering the important phases 
of the process. 
Distribution of these motion pictures 


is being arranged through various 
channels with two chief purposes in 
view. The first, to educated future en- 
gineers in the use of welding, is being 
accomplished by securing showings of 



A Scene From the Unique 

Ox- Welding Films 

Photographs by Linde Air Products Company. 

the films, together with the giving of 
lectures, in universities, vocational, 
trade and high schools. The idea mo- 
tivating this part of the plan is that 
students instructed in the fundamen- 
tals of welding and its advantages will 
employ it as a matter of 
course in the work they di- 
rect on leaving school. 
Students, not prejudiced 
as practising engineers are 
apt to be through long use 
of older methods, are said 
to grasp readily the su- 
perior points of the newer 
method, as demonstrated 
by the films, and accept it 
at its true value. 

At a number of eastern 
and middle western uni- 
versities regular instruc- 
tion hours of the engineer- 
ing classes are turned over 
to an engineer from this 
company who projects the 
films and delivers the ac- 
companying lectures in 
place of the resident pro- 
fessor. This is strong evidence, in- 
deed, of the belief of educational au- 
thorities in the efficiency of welding 
and of films as a medium for teaching. 
It is not surprising, then, that this pro- 
gram has been notably successful. 

Practicing engineers form the sec- 
ond group dealt with in the pro- 
(Continued on page 188) 





WHEN the amateur movie 
maker gets over his first lens- 
consciousness and becomes 
so secure in his hobby that the me- 
chanics of camera work are more or 
less automatic, his mind is released 
for other important phases of cinema- 
tography. This state of mind is a 
great help, and tremendously better 
pictures result. 

Of course, no one is capable of 
knowing immediately and automatic- 
ally the proper exposure for all con- 
ditions and desired effects, but when 
the average lens setting is made on 
your camera with the same automatic 
preoccupation as is experienced when 
you tie a shoestring or do any other 
ordinary task, you are then ready to 
thoroughly enjoy the special phases of 
real picture making. Your mind is 
free to study backgrounds, effects and 
seek out those special shots that mean 
so much to the amateur picture. 

In my own case, for instance, 1 
now find time to seek titles on location 
as I film and it is surprising how 
many excellent ones are to be had 
for the bother of photographing them. 
Inasmuch as I have a title complex 
and none of nn films is worth anv- 
thing to me until 1 have it properly 
titled, this has been a great boon. 

Last summer I determined to obtain 
as many ready-made titles as possible 


as 1 went along and secured more than 
fifty per cent of the necessary labels, 
many of them highly artistic, when 
traveling the Maine seacoast. 

Orr's Island, for instance, with its 
historic and literary background, of- 
fered great possibilities. A closeup 
of the cover of Harriet Beecher 
Stowe's Pearl of Orr^s Island offered 
an excellent lead title, the opening of 
the book fading into a closeup of a 
typical Maine roadsign pointing to 
the Island. Swinging the camera 
slowly from the sign provided a 
charming panorama of the long, wind- 
ing road leading to the Island. The 
next high spot was the historic Pearl 
House, made famous by the story, and 
here again an ancient, weather beaten, 
crudely lettered sign — just right in at- 
mosphere — made a splendid title for 
this. And so it went, all along the 

Instead of using the sand title which 
is washed out by the incoming waves, 
as used in the professional version of 
Robinson Crusoe, I made a lead title 
for the sea pictures by lettering Maine 
Shores in the sand, photographing it 
at a sharp downward pitch and then 
slowly tilting the camera up and to- 
ward the horizon, giving an unusual 
effect of a long beach gradually 
swinging up to the rolling surf and 
the open ocean. The response of au- 
diences to this title proved the selec- 
tion of method was fortunate. 

A camera trip up Mt. Washington 
in the White Mountains also found 
many ready-made titles at hand. A 
nuiltitude of signs, pointing out the 

By R. K. Winans 

various marvelous wonders of the dis- 
trict, provided excellent title material. 
Often beautiful effects were secured 
by utilizing a natural background for 
the sign — that is, leaving just enough 
of nature's margin around it to sug- 
gest the atmosphere. Sometimes this 
was of waving leaves, pine cones, 
needles on living trees, stone walls, the 
restless sea or distant mountains. 

Somehow, all of them seem to carry 
exactly the right tone for vacation 
films, and now I am studying ways 
and means to acquire the rest of the 
necessary titles in the same manner, 
for to introduce titles of a different 
sort into the two big reels will, I am 
afraid, tend to spoil the effect of those 
so carefully garnered en route. 

I find, too, that with my mind freed 
of the mechanics of "now, just what 
exposure?" for ordinary scenes, that 1 
am picking my shots with greater care, 
especially in the matter of composi- 
tion and better settings. Consequently 
my films are far superior to those 
early efforts in which the diaphragm 
was set in great anguish of soul and 
at the expense of the other things 
which, after all, make the movies 
worth while. 


IU/%RCH 1929 


A Discussion of Prisms with a Plan for Simplifying Their Use 

THE chief products of the "Gad- 
get Age" are, quite properly, 
gadgets, and in no field is a new 
gadget greeted with more joy than in 
the realm of amateur cinematography. 
Therefore, I wish to suggest a new de- 
vice especially adapted for the use of 
prisms, but iiaving other auxiliary 
features of real value to the amateur. 
Numerous articles have appeared 
bearing on the effects secured by the 
use of prisms but the discussions of 
the methods and types of prisms used 
have been sharply limited with the 
result that a great many inquiries are 
constantly being received by MoviE 
Makers from clubs and individuals 
asking for help along these lines. A 
study of such requests reveals the 
general idea of a prism to be rather 
vague so far as it applies to cine- 
matography: the average inquirer as- 
suming it to be a block of glass, more 
or less triangular in sagittal section, 
with rectangular plane faces. This 
conception is quite true, of course, but, 
excepting in the right-angled prism, 
which enables the operator to take 
pictures at right angles to the direc- 
tion in which the camera is pointing, 
such prisms are of little use to the 
cinematographer. Briefly, the prisms 
most useful for securing cinematic 
effects are commonly known as opthal- 
mic prisms and are usually obtainable 
at any store engaged in the business of 
fitting lenses for the correction of 
defective eyesight. 

The effect of such a prism, placed 
over the taking lens of a motion pic- 
ture camera, is to produce a deflec- 
tion of the image either toward or 
away from the picture center, depend- 
ing on the position of the prism in re- 
lation to the optical axis of the lens. 
Normally vertical lines are made to 
lean with respect to the frame by more 
or less rotation of the prismatic lens 
in front of the taking lens. The usual 
effects of image displacement are se- 
cured by placing the prism in front 
of the taking lens and as close to it 
as possible. (The word prism, through 
the rest of this discussion, is used to 
designate an opthalmic prism of not 
more than five degrees displacement. ) 
Perhaps the principal difficulty en- 
countered in the use of prisms with 
16mm. cameras at present lies in the 
impossibility of examining the image 
in the gate after part of the film has 
been exposed because, obviously, the 
camera must be opened and, as there 
is no protection for the partly un- 
wound film, it will be hopelessly 
fogged for a considerable part of its 


By Carl L. Oswald 

length. Dark room handling helps to 
correct this difficulty but is, at best, 
a nuisance and frequently imprac- 


Nuthins Is More Effective in Fantastic Scenes Than 

the Power of the Prism to Deflect. As in This Still 

from The Fill o/ the House of Usher. 

With these facts in mind, I wish to 
suggest a piece of equipment which 
can be easily assembled by the ama- 
teur or which, if manufactured, should 
find a ready sale. The suggestion is 
respectfully referred to amateurs for 
their amusement and edification, and 
to manufacturers for what it may be 
worth. Briefly, the device should be 
made somewhat as follows: 

( 1 ) A simple base, either fixed 
or extensible, with provision for three 
or more uprights to hold the various 
elements axially. 

(2 I A piece of blue, finely ground 
glass, masked to the size of the 16mm. 
frame. The support for this may be 

13) A simple, positive lens of the 
same focus as the equivalent focus of 
the taking lens used in the camera. 
The support for this element should 
slide back and forth to allow the use 
of different foci and to permit focus- 
ing with any individual lens. Of 
course, the regular taking lens may 
be removed from the camera and sub- 
stituted for the simple lens mentioned. 

(4) A support with a rotating 
ring, preferably graduated in degrees, 
to be placed in front of the taking 
lens or its equivalent and as close to 
it as possible. This ring should have 
clips to accommmodate the prism. A 
double ring, one in front of the other, 
will give more flexibility because one 
prism can be placed in each ring and 
rotated independently until the de- 
sired effect is secured. When this 
effect is satisfactory on the viewer be- 
ing described, the angular positions 
of the prisms can be checked on the 

graduated rings and a similar setting 
over the taking lens can be made on a 
duplicate set of rings or the ring 
mount can be transferred as a unit to 
the taking lens. 

(5) A magnifier, properly set be- 
hind the ground glass, will be of con- 
siderable help in determining deflec- 
tion and other factors, as the size of 
the image makes this difficult with the 
unaided eye. The optical train ( lens, 
ground-glass and magnifier I should 
be shielded from direct light by a 
bellows or by any other convenient 

(6) A simple grip, fastened to 
the base of the viewer, will facilitate 

The advantages of such a viewer 
are many. If accurately made, it may 
be used for visual checking of lens 
performance. It helps to establish 
camera lines. The blue ground glass 
serves as a handy monochrome view- 
ing filter. This should be made inter- 
changeable with white ground glass 
in the interest of flexibility. The 
double, rotatable prism holder should 
give an infinity of desirable effects. 
If the prisms are cut rectangularly, 
it is easy to determine base and apex 
ends. Then, with two prisms, base to 
base and with these bases slightly 
separated to allow the center of the 
image to pass without deflection, the 
finished picture will show the center 
sharp with only the edges showing the 
prism effect. A reverse effect can be 
secured by placing the prisms nearly 
in contact, apex to apex. If the two 
prisms are made to overlap, base to 
apex, no deflection, other than the 
slight normal plane glass refraction, 
will occur. By rotating the prisms 
from this zero position in opposite 
directions, it is obvious that a wide 
variety of deflections, and conse- 
quently screen effects, will be the re- 
sult. Of course, a single prism may 
be used if it will better serve the 
particular eff^ect desired. The short- 
est dimension of the prism, in plan 
view, should be somewhat greater than 
the greatest free diameter of any tak- 
ing lens ordinarily used. 

Prisms of five degree deflection 
have been suggested but there is no 
reason why greater angles should not 
be used if they can be obtained 
cheaply and if they will serve to se- 
cure the special effect desired. It must 
be remembered that two prisms, plac- 
ed in line along the optical axis as 
above described, will double the effect 
of one if both bases are in the same 
relative positions. 



Sewed with Cine Sauce 

By K. L. Noone 
Illustrated by Alejandro de Canedo 

'Where are you going, my pretty 
"I'm going a-filming, sir," she said. 
'And may I go with you, my pretty 
"You'd joggle the camera, sir," she 

Little Miss Muffet posed on a tuffet 
As sweet as a summer's day. 

But her makeup went spotty 
And made her so dotty 

It frightened the spider away. 

Simple Simon went a-filming 

Just to "shoot' a lion. 
He bravely looked him in the eye, 

Unless he's simply lyin'. 

"Dickory, dickery dock. 
My Cine's now in hock. 

How'll I raise the jack 
To get it back? 

Dickory, dickery dock." 

Humpty Dumpty climbed on a nail. 

Lugging a tripod after. 
Humpty Dumpty had a great fall, 

And THAT was no cause for 

"Mistress Mary, quite contrary. 
Do YOU do pictures too?" 

'Oh, I leave them to Jack, Old Top,' 
said she, 

'For I NEVER know what to do!" 

"To market, to market. 

Just to buy me some fillum. 

Home again, home again — 

With a dissolve, and a coupla me- 
ters, a new projector, one of those 
tilt-top things, some screens, be 
cause a fella ought to have different 
sizes, another case, a few things ii; 
the library line, one or two filters 
. . . Gosh, I forgot the fillum an' 1 
gotta go back toniorra!" 

Mary's little camera's 
Completely out of focus. 

And every picture Mary shoots 
Goes simply hokus pocus. 

Old Mother Hubbard went to the 

Her projector there to find. 
When she opened the door 

It fell on the floor 
And she promptly lost her mind. 


JVI/mRCH 1929 


Afi Analysis of the Foundation of the Modern Photoplay 

By Paul D. Hugon 

Illustrated by Alejandro de Canedo 

NO more has the present-day mo- 
tion picture, with its vast net- 
work of interlocking technical- 
ities, sprung ready-made from the 
brain of one man, than has the pres- 
ent-day automobile, with its countless 
conveniences and complications. Ev- 
ery single detail on which all are now 
agreed is the result of numberless ex- 
periments, some of which seem so 
foolish that the amateur who starts 
discovering the field of motion pic- 
tures today would hardly give them 
a second thought. 

Take, for example, 
the scenario. The word, 
common five years ago, 
is fast going into dis- 
card, for the scenario 
has split like a com- 
mon amoeba and now 
we deal either with 
"stories" or with "con- 
tinuities," and even the 
"stories" are fast split- 
ting into "originals" 
and "adaptations", ac- 
cording to whether they 
were first written for 
the screen, or for some 
other medium of pro- 
duction, such as the 
press or the stage. 

Anyone who has been 
in the cinema business 
more than fifteen years 
— I might even say ten 
years — remembers the 
crude thing called a 
scenario. At that time, 
even one good incident 
was often sufficient to 
build a film around. A 
new kind of horse jump 
across a precipice, a 
different automobile 
accident, a more realis- 
tic collision, sufGced to 
ensure a measure of 
success at the box office 
if the cast and the di- 
rection were reasona- 
bly good. Nor were those accidents 
as easy to produce as they are in these 
days of miniatures, glass paintings, 
double exposures and traveling mats 
(these being various ways for manu- 
facturing backgrounds or for faking 
accidents and other scenes too diffi- 
cult to produce in real life). In the 
old days, when an automobile was 
seen driving over a cliff, it had to do 
just that. Sometimes, of course, the 
cliff was mercifully provided with a 

second ledge, invisible from the low 
camera angle; sometimes the tempor- 
ary occupant of the automobile was a 
dummy. But the production of those 
scenes was difficult and absorbed most 
of the energies of the company. 

It was only when ideas began to 
run out, when all films began to de- 
pend more on details of acting and 


direction than on big mishaps, that 
the continuity, as we know it now, 
proved necessary. The continuity and 
the close-up may be said to have come 
together. No longer can a film consist 
principally of entrances, exits and 
chases. Mere physical movement is 
not "action" in the dramatic sense of 
the term. An example from the field 

of psychology will show why. Look 
at a crowd of people walking along 
the street. Obviously they are in ac- 
tion — the evident kind of external ac- 
tion which comes from movement of 
the limbs and body. Now look at an 
urchin staring into the window of a 
confectioner. He is apparently mo- 
tionless — apparently, but not really, 
for his stomach is contracting and ex- 
panding rhythmically, all the muscles 
of his heart and lungs are in action, 
his blood pressure has been changed 
by the sight of the coveted delicacies. 
That is not movement, 
because it is not visible 
to the naked eye, but it 
is action — the action of 
deep emotion or feel- 

When the movies 
passed from external 
movement to psycho- 
logical action (or feel- 
ing), no longer was it 
possible to depend on 
memory for the se- 
quences of the scenes. 
It is easy to shout to an 
actor, "Rush out to- 
ward your left!", but 
it is not so easy to say, 
"Feel hungry!" Details 
have to be introduced 
that will make the feel- 
ing not only easy to en- 
act, but easy to under- 
stand. And that is pre- 
cisely the task of the 
continuity writer. Let 
us take an example and 
work it out. 

In a recent novel. 
The Bridge of San Luis 
Rey, one of the charac- 
ters, an adventurer, is 
described as being so 
independent that he 
would drop any venture 
the moment it threat- 
ened to prosper. How 
could that be filmed? It 
could be stated bluntly in a subtitle, 
of course, but that would mean noth- 
ing. Modern farces, described as 
■"comedies," are full of such clever 
titles that are not intended to be taken 
seriously. A subtitle by itself does 
not register. It has to be supported 
by the scenes before and after. Again, 
it might be omitted if the characteriza- 
tion were of no particular conse- 
quence. Supposing that feature of his 

I .% K. E R » 


character did not affect the actions of the principals, then 
it would surely be left out, by virtue of the rule of "signifi- 
cant action" — a rule which demands that everything what- 
soever that takes place in a play shall positively advance 
the action, either by revealing some point in character that 
will contribute to build up or destroy an obstacle, or by 
explaining what would otherwise not be understood. But 
supposing that this man's independence were the cause of 
some vital changes in the conduct of others, then it would 
have to be "planted" early in the story. 

Now the story itself might read simply, "Uncle Pio was 
an independent old man, who could never remain in one 
place and hated to have any obligations." The continuity 
writer would be left to use that characterization in such 
surroundings that Uncle Pio would thereafter be fully 
known to us. According to the same rule of parsimony, 
or "significant action," the continuity writer would be 
compelled to place the scene in a setting that already fitted 
in the story. It would never do to invent a setting espe- 
cially to bring out a detail of character and then have no 
further use for it. If, in the story. Uncle Pio is shown 
having dealings with the Governor of Peru in Lima, then a 
sequence in the Governor's palace might be used to reveal 
Uncle Pio's independence. 

The first thing that the continuity conference would 
work out (for few continuities are the work of one man. 
screen "credits" notwithstanding) would be a synopsis of 
such action as were necessary in the palace. It might read 
as follows: 

"Having insinuated himself into the good graces of the 
Governor's man servant, Uncle Pio gives him to under- 
stand that he will, for a consideration, inform His Excel- 
lency of certain plottings that are going on. He is taken 
to the dining room, which the Governor has just left, where 
he is allowed to take some of the food. This he avidly 
devours. While he is still eating, the Governor, who has 
been informed of Uncle Pio's statements, returns and list- 
ens to his story. He is interested enough to give Uncle Pio 
some money and has him taken to a room where he will be 
supplied with his needs. He arranges to see Uncle Pio 
again later in the day. Left alone. Uncle Pio looks bored, 
survevs the walls and after a while slips out of the window. 

He returns to his old haunts in the city, where he drinks 
to his regained freedom." 

The next step will be to write this incident scene by 
scene, introducing as few sets as possible, and as few char- 
acters as possible, and to do it in such a way that each 
scene will increase the effect of the previous one. To show 
both the wrong and the right ways, we give the wrong 
treatment first in italics, followed by the action properly 
presented and in proper scene divisions. 

Exteriors of the palace; parleying at the gate; going 
through several corridors (unnecessary) . 

Showing Governor at lunch before Uncle Pio is brought 
in ( irrelevant ) . 

Subtitles explaining what Uncle Pio is saying, or how 
he came to the outer guard, etc. {Better shoivn in action 
by the mystery of Uncle Pto's manner) . 

Scene 1. Long Shot. Corridor in palace, door at side 
opening on to dining room where the Governor is at his 
meal. Uncle Pio is brought in by an armed guard (this 
conveys the thought that he has come from outside) and 
handed to one of the inside servants. Wliile Uncle Pio 
explains in a whisper that he has something of importance 
for the Governor, we catch a glimpse of the Governor 
leaving the room after finishing his meal. (This to leave 
the dining room clear so as to register Uncle Pio's raven- 
ous hunger.) The two servants look mysterious, whisper 
to one another, pointing occasionally and looking over 
their shoulders in the direction of the dining room. Uncle 
Pio sees the remnants of the meal. 

Scene 2. Close Up of his eyes dilating as he catches 
sight of the left-over viands. (Perhaps close up of the 
left-overs.) One of the servants (the one from outside) 
is told by the other to inform the Governor. He exits. 

Subtitles explaining Uncle Pio's hunger. 

Action ivhich would make the servants appear inhuman, 
as that would make their later agreement impossible. 

Scene of Governor in other room (unnecessary) . 

Scene 3. Medium Shot of Uncle Pio left alone with 

{Continued on page 183) 


J*I/%KCH I92<) 


New Methods of the Film Capital which Will Interest the Amateur 

By H. Syril Dusenbery 

FEW industries have made greater 
strides in the past year than the 
movies. One new development 
has followed another with such neck- 
breaking speed that it is only with the 
greatest difficulty that we are able to 
keep pace with the "latest" in Holly- 
wood. Already nineteen twenty nine 
sees the movie capitol pushing ahead 
so rapidly that no one ventures to pre- 
dict what will happen before 
the year closes. We have 
improved photography, im- 
proved cameras, improved 
film, improved lights, im- 
proved . . . everything save 
the stories! 

A visitor to the leading stu- 
dios after a years absence 
cannot help but note that a 
complete change has taken 
place. While the shooting of 
the pictures has always been 
slow and tedious work, there 
is quite a noticeable increase 
in speed and everything 
seems to move forward with 
more snap than heretofore. 
Directors work faster, elec- 
tricians and technicians are 
more efficient, and less time 
is lost between scenes. 

Of course, the "talkies" 
are the big thing of the year. 
Everyone, everywhere, is 
talking about them. Holly- 
wood sincerely believes that 
the future of the movie lies 
with the talking picture. But, 
as the sound stages are tightly 
closed to spectators, few visi- 
tors ever get to see them. All 
sound experiments and sound 
recording is done behind 
closed doors, shrouded in 
great secrecy. We shall, 
therefore, be content to visit Thi 

the open and more familiar 
stages of the Hollywood studios. 

As we enter a set on one of Holly- 
wood's latest stages we are struck at 
once by the change in lighting equip- 
ment. The widespread adoption of 
incandescent lights in place of the old 
types has brought about many radical 
changes in studio methods. Simultan- 
eously, panchroinatic film sprang in- 
to popularity. Panchromatic had been 
on the market many years but, because 
of its cost, was never generally used. 
Price reductions on the part of the 
manufacturers swept it into the lime- 
light. As a result, color values are now 
rendered more perfectly than ever be- 
fore. The fine art of make-up has ac- 


cordingly been affected. Scenery, 
properties and costumes all have a 
more natural appearance under these 
new conditions. It is indeed difficult to 
realize that a mere change of lights 
and film should bring about so many 
upsets in established procedure. 

PhorogTupfi by Mff 
ructed Frame Moves the Camera Up 
he Same Time. Backwards or Forward^ 

On the stage before us we watch the 
shooting of a close up. How queer the 
make-up appears to us, who are used 
to the old days. No longer do the ac- 
tors appear like sickly ghosts. A more 
natural make-up is used, similar to 
that which we are accustomed to see- 
ing on the modern stage. Rouge, how- 
ever, is still under ban, as red will 
photograph dark under the new con- 
ditions, just as it did before. Natural 
flesh tints are now used in place of the 
weird "motion-picture yellow." The 
eyes, too. have a more natural look, 
aithough they are still exaggerated in 
size and heavily made up. The incan- 

descent lights are easier on the eyes 
than the old lights which were rich 
in ultra-violet rays. They do not sput- 
ter and spatter every time they are 
turned on or off and are free from 
the hissing sound that was often so 
annoying during the shooting of a 

At the Paramount Studios, the pro- 
fessional cameras we see are nearly 
all motor driven. No longer 
are the cinematographers 
"crank-turners." Some old 
timers still hesitate to aban- 
don the hand crank, but even 
they concede the point that 
the motor driven camera is 
the one of the future. We 
cannot help but wonder if the 
success of the spring driven 
amateur camera had an in- 
fluence on this improvement. 
The hands of the camera man 
are now free to manipulate 
the trick effects and other 
numerous adjustments possi- 
ble with the big cameras. 

The moving camera is es- 
pecially popular and all sorts 
of new and novel camera 
mounts have put in their ap- 
pearance in place of the long 
familiar tripod. These new 
mounts are designed to hold 
the heavy camera rock steady 
and yet allow- it to move free- 
ly about as it follows its sub- 
ject. Camera men are no lon- 
ger satisfied to set up their 
tripods on mere moving plat- 
fojms or trucks, so entirely 
new camera supports have 
been developed. At Univer- 
sal Studio, one camera in par- 
ticular attracts us as we wan- 
der from stage to stage. This 
camera is mounted on heavy 
coiled springs and bounces 
about as the picture is being shot. It 
is a fighting scene and the director 
tells us that inasmuch as all motion is 
relative, the moving of the camera 
gives an exaggerated effect of the 
movement of the fighters knocking 
each other about. Similar tricks are 
employed when photographing in- 
teriors of trains, ships, and autos, to 
give the effect of motion. 

To follow action transpiring on a 
staircase, Metro-Goldwyn-Mayer tech- 
nicians have built a special camera 
mount, much like a hoist on wheels. 
As the characters move up and down 
the steps the camera is raised and low- 
ered to follow them. At tiie same time 



the entire hoisting apparatus rolls 
back and forth so that the characters 
are always the same distance from the 
lens, regardless of their position on 
the stairs. This sort of camera mount, 
together with a host of others, owes 
its origin to the present fad of having 
the camera follow the 
action. When projected on 
the screen, the spectators 
feel that they themselves 
ai'e following the char- 
acters. The director rides 
along on this camera ele- 
vator so that he can view 
the scene at all times from 
the same angle as the cam- 

We are greatly im- 
pressed with the special 
pains taken by the cinema- 
tographers to get their 
subjects in absolute focus. 
Some cameras are equip- 
ped with a special direct 
focusing device enabling 
the camera man to focus 
on a ground glass, or even 
directly on the film emul- 
sion itself. When this can- 
not be done, the distance 
is accurately measured 
with a tape and the lens 
carefully set accordingly. 
With a moving subject ap- 
proaching a camera, even 
greater effort is made to 
insure correct focus. In one studio 
we find that the camera man has 
chalked off measured distances on the 
floor, just outside of the range of the 
camera. As the subject approaches, 
the focus of the lens is changed as the 
chalk marks are crossed. The enor- 
mous magnification of the projected 
picture makes it essential that every 
scene be in microscopically sharp fo- 

cus. We could certainly impro\e our 
own pictures if we would take a little 
more time to focus correctly. 

Artistic composition, another mat- 
ter so often neglected by most of us, 
comes into its own in Hollywood. 
While tlie camera man is usuallv di- 



All It Takes Is an Old Sprinu- Nole the Director's 

Monotone Filter. 

Pholograpit by i;>iiveT5dl. 

rectly responsible for the composi- 
tion of his work, the technicians and 
the director, himself, play an impor- 
tant part. Scenes are never shot in 


Everyone in This Scene is on the Move From Slai 

to Script Clerk. The Electric Fan is Providing Thai 

Famous Boardvi;alk Breeze. 

Vhotograph by MctTO-Go/dwyn'Mayer. 

haste or at random, but are given 
careful thought. Before setting up his 
camera on a new location, the camera 
man studies the situation from all pos- 
sible angles. He moves about from 
side to side carefully surveying the 
scene, searching for the most effec- 
tive position. With the 
co-operation of the electri- 
cians the lights are tested 
in a variety of positions to 
determine the best effect. 
Nothing is left to chance, 
everything is tried and 
tested before hand. 

The long familiar "blue- 
glass," or monotone filter, 
used in all the studios, has 
taken on a new hue. The 
original blue glass was 
designed to match the col- 
or sensitivity of ordinary 
film and consequently is 
not correct for panchro- 
matic. With this newer 
film the monotone filter 
now becomes tinged with 
brown, allowing certain 
red rays to become visible. 
It is interesting to view a 
scene through both the 
new and the old filters so 
that we can better appre- 
ciate the difference be- 
tween the two types of film. 
Both the director and the 
camera man make con- 
of the monotone filter to 
the lights, costumes, 
make-up, properties and scenery be- 
fore any film is shot. 

All the old studio tricks, from the 
use of miniatures down to artificially 
produced weather, are still in evi- 
dence. Most of these have been ex- 
ploited so much that we take little no- 
(Cuntinued on page 1821 

check up 


^m ■ '\ iSP 

I ^ 

.M:Il 4 

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'^^^ ^^^^^^^^L'' ^^ J^^jfl^^^^^^H 

JM/^RCH 192«> 



NEEDLESS to say, you should 
keep your developing tanks 
and reel scrupulously clean 
and protected from dust when not in 
use. The care used in handling ordi- 
nary stills with regard to eliminating 
dust particles must be amplified a 
hundred times when handling motion 
picture film since every tiny frame is 
enlarged on the screen to several thou- 
sand times its size and a tiny spot 
imperceptible on the film itself be- 
comes an unsightly blemish when 
projected. Take care also that your 
drying rack is free from dust and 
that you dry your film in a room 
where there is a minimum of dust. 
Keep the windows and doors closed 
while drying film and do not make 
any unnecessary movements around 
the room which might stir up dust 

When squeegeeing your film be- 
tween a piece of chamois while wind- 
ing it on the rack for drying, it is 
well to examine the chamois fre- 
quently to see if small particles of the 
emulsion have rubbed off. These, if 
they are not immediately washed out 
of the chamois, will seriously scratch 
the balance of the film as you reel it 
on to the rack. However, if you have 
been careful not to allow your fixing 
bath and washing water to go above 
sixty-five degrees and press the cham- 
ois no harder than is necessary to re- 
move surplus water, you will have 
little trouble from this cause. 

After your film is dry remove 
water marks and surface dust par- 
ticles by burnishing it with a piece 
of silk plush soaked with carbon tet- 
rachloride while you reel the film 
from one reel to the other on your 
rewind. While your film is "green" 
use care in rewinding since "cinch" 
marks quickly appear if >t\ie film is 
wound too tightly. 


Further Notes 

By W. Sterling Sutfin 

Foreign Publicity Manager, 
Remington Rand, Inc. 

Note: This article is supplementary 
to that which appeared in the Septem- 
ber, 1928, issue of Movie Makers 
under the same title. 

Grit in the water used for wash- 
ing is perhaps the greatest cause of 
marks on home developed films. It is 
well, therefore, not to allow the water 
to pour directly on to the film when 
you are washing in running water 
but rather to let the water enter the 
tank in a fine trickle at a point where 
it does not fall on the film itself. 
Filling the tank rapidly with water 
and pouring it out again causes a small 
whirlpool within the coils of the spiral 
ribbon on which the film is wound 
and a few pieces of grit can do con- 
siderable damage to your film within 
a few seconds. 

One might reasonably say that the 
only real problem which an amateur 
confronts in home developing is the 


fight to keep dust particles from strik- 
ing the wet emulsion. So important is 
this factor of dust that professional 
laboratories have invested thousands 
of dollars for special equipment to in- 
sure filtered water and washed air 
in their developing and drying rooms. 

Mixing Developers 

SO far as the writer knows, standard 
motion picture developers are not 
available ready for use with the addi- 
tion of water as are "still" developers. 
This makes it necessary for the ama- 
teur to weigh and mix his own devel- 
opers but this is a far simpler task 
than a casual glance at a rather form- 
idable appearing formula makes it 
seem to be. 

First you will need a good scale 
which measures grains. It is also a 
convenience to have an ounce scale 
but your grain scale may be used for 
measuring ounces by making several 
weighings of the same chemical un- 
til the required number of ounces 
has been obtained. As a general rule 
the chemicals making up a formula 
should be dissolved in the order listed. 
It is a convenience to mix these in a 
small quantity of hot water (about 
125°) and then pour the concentrated 
solution into a gallon bottle and add 
the necessary cold water. Merely 
shaking the bottle until no sediment 
remains and the solution is clear, is 
probably the most effective way of 
insuring a well mixed developer. 

The life of motion picture devel- 
oper, if kept tightly corked and pro- 
tected from light and high tempera- 
tures, is almost miraculous but when 
developer shows a decided discolora- 
tion or sediment appears it is well to 
throw it away and mix a fresh solu- 
tion. A gallon of "Formula 16" 
developer costs less than sixty cents 
and if used within a reasonable length 
of time is good for developing twenty- 

lO'WIE IM /% K E R S 



five or more one hundred foot rolls 
of film. It is also poor economy to 
"revive" a partially exhausted devel- 
oper since the cost of fresh developer 
is so slight and any change in your 
original solution might upset the fac- 
tors which you have worked out for 
time and temperature development. 

Developing Reversal Film 

IT is not generally known that re- 
versal film may be developed to a 
negative and the reversal process 
omitted. The following formula is 
recommended, although "Formula 
16" gives excellent results: 

Elon (Metol) 20 grains 

Hydroquinone 280 grains 

Sodium Sulphite (anhydrous) 12.8 oz. 

Borax 120 grains 

Water 1 gallon 

In mixing the above formula the fol- 
lowing instructions should be follow- 
ed. Dissolve the metol in a few ounces 
of hot water and pour it in your gallon 
bottle. Then dissolve about a quarter 
of the sulphite separately in hot water 
and add the hydroquinone while stir- 
ring until no sediment remains. Add 
this solution to the bottle. Dissolve 
the remainder of the sulphite in hot 
water, add the borax, pour into the 
bottle and add the necessary cold 

The negative resulting from re- 
versal stock has a slight pinkish tinge 
which does not, however, in any way 
impair its printing quality. 

Reeling Films 

^vTHEN winding your film on the 
'^ reel for developing wind it very 
tightly. Film expands during immer- 
sion in a solution and if it is not 
wound tightly the emulsion side will 
touch the reel and result in undevel- 
oped spots and patches. However, film 

shrinks while drying and therefore 
should be wound very loosely on the 
drying rack. 

Panchromatic Film 

PANCHROMATIC film is undoubt- 
■■• edly the only film to use in mak- 
ing interior shots with incandescent 
lamps for illumination. Not only is 
the film faster than orthochromatic 
(thus requiring less illumination) but 
it gives color-correction which large- 
ly eliminates the necessity for make- 

Panchromatic film, however, being 
sensitive to red, must be developed in 
a green light and preferably with no 
illumination at all since this film is 
also sensitive to green and fogs easily. 
A Wratten Series 3 Safelight should 
be used for illumination while devel- 
oping panchromatic film and even 
this light should not be allowed the 
freedom in the dark room which you 
customarily allow ordinary red light. 


Printing with the Camera 

TPHE method of using an ordinary 
-*- motion picture camera as a printer 
as outlined in the September, 1928, 
issue of Movie Makers does not al- 
low control of printing illumination 
and both light and dark scenes must 
of necessity be given the same expo- 

While this limitation is not of im- 
portance when all of your scenes are 
interiors or evenly lighted exteriors, it 
frequently happens that a film will 
have dark scenes which require a 
longer printing exposure. Splice all 
■ of these dark scenes together in one 
roll and, instead of using the fifteen 
watt lamp, print this roll of dark 
scenes with a twenty-five watt lamp 
which will give the increased print- 
ing exposure necessary. 

Storing Negatives 

/^NE of the features of negative- 
^-^ positive film is the fact that you 
retain a permanent negative and at 
any time in the future additional 
prints may be made. Since the nega- 
tive is your permanent record and 
may not be used again for years you 
will want to take precautions that all 
negatives are carefully preserved. A 
good plan is to splice short lengths 
into 400 foot rolls (it is not necessary 
to keep them on a reel), and place 
them in the ordinary 400 foot reel 
cans after moistening the pad with 
water, glycerine, or one of the spe- 
cially prepared humidifying solu- 
tions. Seal the cans with adhesive 
tape and paste a label on the cover 
giving a complete index of the scenes 
enclosed. The cans should then be 
stored in a cool dry place. 




.«i;%RCH IS^a* 

*• « K E R s 

If I could only 
take the Colors as 
they actually areh 

X-^ON'Tyou sometimes wish 
you could plKJtograph what you see exactl)' 
as you see it, color and all? That you could 
capture the ruddy cheeks and bright snow- 
suits of the children as they romp through 
the drifts; the restful landscape, with its soft 
yellows and browns and greens, and splashes 
of vivid color in the foreground; that you 
could have forever, true even to the delicate 
flesh tints, close-ups of loved ones showing 
each fleeting expression, each familiar man- 


Yuii mil ply uic a culurfiUtr niu'ii luKiii^ Av./iic, 

,i pillule' like ihii, IdL'H in Koilacuhr, Kuuld icprndh 
every flesh tinl, would show the Jul/ color of ejery flua; 

You can do it with Kodacolor — home 
movies in full color. Kodacolor faithfully 
reproduces on your screen the colors as you 
actually see them through the finder of your 
camera. It brings out nature's true beauty 
with a fidelity that cannot be approached in 
black and white pictures. 

Portraits in Kodacolor are amazingly hu- 
man. They have a naturalness, a reality, 
that fairly makes the subject li\e on the 

Asli your Cin^- Kodak dealer 
for a deihoustration 

Eastman Kodak Company 


screen. A Kodacolor reel of those dearest to 
you will enable you to see them in years to 
come with every flesh tint, every bit of color 
in hair and clothing just as you see it today. 

And it's just as easy to take good pictures 
in Kodacolor as it is to take them in black 
and white. The resultsobtained by amateurs, 
as shown by Kodacolor film received at 
Rochester for processing, prove this con- 
clusive!) — for over 90% of the films are 
excellent. Simply load your Cine'-Kodak 
f.\9 with Kodacolor film instead of with 
ordinary film, slip a Kodacolor filter into 
place and take your pictures in bright sun- 
light. It's as easy as that. "You press the 
lever; we do the rest." 

Kodacolor is shown by Kodascopes, Mod- 
els A and B. You simply use a Kodacolor 
filter when making or projecting Kodacolor. 

You must actually see Kodacolor to real- 
ize its beauty. Your Cine-Kodak dealer will 
gladly show it to you. 


You simply use a color filter vshen prajeaiir^ Ko 

1M/%RCH 1929 


Manifold Uses of the Iris and of Masks and Effect Filters 

By Herbert C. McKay, A. R. P. S. 


FASHION is unquestionably fickle. 
It is hardly possible to formu- 
late a satisfactory answer to the 
eternal question, "Why do fashions 
change?" It is true that the new style 
brings the element of novelty and it is 
just as true that the popular fad soon 
nauseates when thrust upon one from 
every hand, so that monotony and 
senseless repetition too often obscure 
positive virtues. 

The motion picture industry has 
passed through endless changing fads, 
styles and fancies. In the search for 
novelty, good ideas were abandoned 
and, through constant and, for the 
most part, decidedly indiscriminate 
use, other good technical devices have 
been discarded. The motion picture 
field must follow the will-o'-the-wisp, 
which to-day is apparently the talkie. 
Amateur cinematography may, there- 
fore, well take up and preserve a few 
of the good but abandoned devices of 
the old-time professional and adapt 
them to his own uses. 

How often do we see an iris upon 
the theatre screen ? The auto dissolve, 
a most excellent device in its own 
field, has so completely replaced the 
one-time universal iris that it has be- 
come a stranger to us. In point of 
fact, when used with intelligence and 
discrimination, the iris is one of the 
most valuable accessory devices we 

The iris, the mechanical device, 
loses most of its value if it is perma- 
nently centered with the optical axis 
of the camera. After years of experi- 
mentation, the old-timer evolved the 
combination iris, sliding base and 
mask box. This same combination re- 
mains the ideal solution to the "effect" 
question and. is available in various 
modifications from various manufac- 
turers, though some experimenters 
prefer to build their own. At any rate, 

the accessory attachment should in- 
clude a decenterable iris with attached 
mask box and a clamp for holding the 
iris in any position. Index marks will 
be of some assistance in travelling 
iris effects. 

The iris may be used to divide se- 
quences in the absence of a dissolve 
but in this particular field it is in- 
ferior to the dissolve. This is the use 
for which the small attachable irises 
are used. They open and close toward 
the mathematical center of the frame. 

The iris is used for framing a dif- 
ficult composition. Closeups are of- 


ten unpleasant due to their symmetri- 
cal central placing in the rectangular 
frame. A diffused iris or round gray 
mask is not satisfactory and the round 
black mask is too abrupt. In this case 
a stop is set to insure the proper maxi- 
mum opening, a diffused iris mask is 
placed in the mask-box and the camera 
set to place the closeup in the mask. 
The iris at the fullest opening should 
not quite reach to top and bottom of 
the frame and should be concentric 
with the mask. Here we iris in upon 
the closeup and at the completion we 
have the figure surrounded by the 
cloudy haze of the diffused (grav) 
iris and, then, the enclosing circle of 
the opaque iris. 

The iris is used for calling attention 
to some particular part of the scene. 
In the distance a man runs toward the 
camera. Usually we will not notice 
him until he is in the middle distance 
but we can iris in just enough to dis- 
close him. The iris opens to keep pace 
with the growing size of his image and 
swings to keep his image centered. As 
he approaches the foreground the iris 
flicks open and we discover the action 


taking place in the foreground coin- 
cidently with the actor who has run in 
from the background. This requires 
a rehearsal or two and careful work- 
manship but it is not too difficult for 
the average amateur. 

The iris is used to introduce char- 
acters. This is an old device, long 
since discarded, but effectual, partic- 
ularly when inexperience gives us an 
amateur photoplay whose continuity 
is not all that can be desired. 

The film opens with a scene in which 
the principal actors, or one group of 
them, are talking together. The title 
flashes the name and role of the actor. 
The iris opens just sufficiently to show 
that actor who acknowledges the intro- 
duction. After the last introduction 
the iris opens to disclose the entire 
group. This is simple and for neigh- 
borhood clubs it is an admirable 

The iris also has uses which will 
recommend it to the experimenter in 
cinematics. Suppose we have a char- 
acter, worried, nervous, undecided. It 
would be somewhat difficult for the 
average amateur to properly and con- 
vincingly register these emotions, but 
suppose we open with a small iris to 
a hand nervously tapping a desk with 
a pencil. We hold this iris for six, 
eight or even ten seconds. We increase 
the tension of suspense as far as pos- 
sible without causing a reaction, then 
open to the actor, frowning at his tap- 
ping pencil. After the opening he 
need only throw tlie pencil away in ex- 
asperation and drop his head to his 
arms to make a perfect registration. 
He is freed from the responsibility of 
a complex facial interpretation. 

Indeed, the despised and discarded 
iris holds great possibilities for the 

The mask-box is so closely related 
to the iris that we seldom think of 

lOWIE M /% 1^ E R » 

35 mm. Still 

Sharp, clean and clear pictures 

No detail lost in 

enlarging or projecting 

The Q'R'S 35 mm. Still Kamra takes pictures of such marvelous 
sharpness of line and clearness that they can be enlarged to any 
practical size in wonderful detail. In the larger photograph 
above, note how clearly even the smallest detail of the smaller 
photograph is preserved intact withovit losing sharpness of line 
and clarity and still maintaining its original contrast and color. 

Q-R-S 85 iiim. Still Kamra 

(40 pivturcs per mil) 


Equipped with superstigniat lens. 

No focusing or adjust men t>s neressary 
— always ready to shoot. Double expo- 
sure impossible. 

Vi onderful for making "stills" to use as 
backgrounds for your 16 mm. or your 
35 mm. titles. INIaile of special unbreak- 
able Bakelite composition. 

€|«S Still Projootor Model K-2 ^^l^^ 

[Ask your dealor or vk^rile us for vatstlofi'i 


lislahlishttl IVdll 

333 North Michigan Ave., Chicago. Illinois 

306 Till Stre«-t. San Francisco 
135th Street & Walnut Avenue, Nov York 


C O U P O X 

THE O-RS COMPANY, Dcpt. E-.i, 
;i.'J.'t North Michigan Ave., Chicago, III. 
Picas.- send me full inrormation on 
voiir Slili Kumra and Slill IVojc.lor. 


IM/^RCH 1929 

either as a distinct unit. The more re- 
cent boxes are of the duplex variety, 
being adapted for use with either the 
standard box-mask or the "effect fil- 
ter" type of mask which is smaller 
and usually square. It must be borne 
in mind that effect filters are not filters 
at all, but modified masks. A filter 
must remove something from a het- 
erogenous mixture, while passing 
other constituents. The term is prop- 
erly applied only to screens which 
pass some light frequencies while ef- 
fectually blocking others. The effect 
filter acts upon the light as a whole, 
entirely or partially retarding the 
light throughout a part or all of the 
mask surface. 

Masks are easily made at home. 
The commercial mask boxes have an 
adapter cut from thin sheet brass 
which serves as a carrier for the home- 
made mask. The material used in the 
home-made masks may be black pa- 
per, transparent celluloid, yellow cel- 
luloid, an iodized and fixed film or 
matte celluloid. 

The openings in the masks are either 
sharply cut or finely serrated. The 
sharp cut mask gives a finely diffused 
edge, while the serrated mask gives a 
broader line of diffusion. The ser- 
rated openings are the more highly 
favored for the conventional shapes, 
while the sharp edged openings are 
used for the "fancy" shapes such as 
round (telescope), overlapping cir- 
cles (binocular), star, keyhole, oval 
and so forth. 

A template is made from stiff card- 
board just large enough to fit into the 
mask slot, while the mask opening is 
marked and cut out. This is then used 
in cutting the mask blanks from the 
material to be used. For example, sup- 
pose we want to cut a diffused iris 
mask from matte celluloid. The cel- 
luloid is cut according to the shape of 
the template, and the opening indi- 
cated by a pencil mark. From corner 
to corner of this opening rectangle, 
lines are drawn which cross in the 
center of the space. Using this inter- 
section as a center, draw a circle 

which will not touch the upper and 
lower sides of the rectangle by at least 
one-quarter inch. Then draw a con- 
centric circle about three-sixteenths 
of an inch inside this circle. Cut out 
the smaller circle and then cut in 
toward the larger circle in such a man 
ner as to leave a circle of fine '"saw- 
teeth", whose length equals the dis- 
tance from the inner circle to the 
outer. The same procedure is fol- 
lowed in making all other diffused 
edge designs. 

Effect Sometimes Heightens a 

The gray color of the matte cel- 
luloid gives a gray border, rather 
dark, but not black as is the case of the 
opaque mask. 


An Example of Its Use in Humorous Vein. 

The black paper gives a mask which 
produces a black border in the final 
print. This mask changes the size and 
proportion of the image upon the 
screen as the limits of the true frame 
are lost. 

Transparent celluloid gives a slight 
diffusion which is increased by 
slightly roughening the surface. 

Light yellow celluloid acts as a fil- 
ter and by holding back the border 
makes it print lighter than the portion 
of the scene taken through the open- 
ing. Such masks should always be used 
with serrated openings, as the sharp 
edged opening makes a change which 
is too abrupt. 

Another material which can be used 
to advantage is chiffon, or fine metal 

uire mesh. The latter is more con- 
venient due to its stiff texture. Any 
portion of a scene photographed 
through this mesh will have a diffused 
focus. The solid mesh is used for a 
soft focus screen, while the various 
openings will enable a sharply defined 
portion of the subject to be shown 
with the borders of the frame diffused. 
The mesh used should be about fifty 
to eighty openings to the inch. Bolting 
silk may also be used to very good ad- 
vantage, the white silk giving a flared, 
foggy effect while the black gives only 
tiie diffusion of focus. 

A typical set of masks which may be 
made consists of: 

Black paper opaque masks: round; 
overlapping circles; oval; rectangu- 
lar, serrated edge (to give the effect 
of chiffon, four-way mattes used in 
professional work) ; round serrated; 
oval serrated; heart; diamond; club; 
spade; keyhole; star; diagonal and 

Matte celluloid masks: round; 
round serrated; oval; oval serrated; 
rectangular serrated; upright serrated 

Clear celluloid masks: same as the 
matte celluloid; 

Yellow celluloid masks: same as 
the matte celluloid; 

Metal mesh: solid; round; oval; 
diamond; upright oval; rectangular; 

White bolting silk: same as matte 
celluloid; also one solid (Fog filter) ; 

Black bolting silk: to replace metal 
mesh if desired. 

These forty-six masks, together 
with special shapes appropriate to the 
scenario being produced, will add im- 
measurably to the production and en- 
able the producer to give many 
touches of great cinematic value which 
would otherwise be impossible. 

Thus by masking and by the proper 
use of the iris, the possibilities of 
amateur cinematic technique are con- 
siderably extended, without entering 
on trick work, which is a quite differ- 
ent field. 



SI O % I I «■ % M ■: K fl» 




THIS new lens, with a focal lenglh of about three inches (78 
inni.) f;ivesaii image with a diameter fully three times as great 
as that obtained with the /.1. 9 lens at the same distance. In other 
words, a subject that fills the sight finder at twenty feet will fill the 
lelephoto finder at sixty feet. This makes it easily possible to obtain 
clear, sharp detailed pictures of distant scenes — outdoor sports, 
birds, animals and similar subjects that cannot be readily ap- 
I)roached for the usual close-ups. 

The/.t.5 lens can be instantly interchanged with the/.1.9 lens by merely operating the small le\er 
that is inset in the front of the newer Cine-Kodaks, Model B,/.1.9. 

The long-focus lens makes possible new pleasures, a wider range of pictures, with the Cine-Kodak. 
Vou can get the lens at your Cine-Kodak dealer's. 

These illustra- 
tions show the 
relative sizes of 
the images ob- 
tained tfilh the 
1-inch f.1.9 lens 
{left) and the 
:}-inchf.t.5 long- 
focus lens (_righl), 
from the same 

Cine-Kodak, Model B,/.3.5, is now priced at $85. 

THIS model Cine-Kodak, with its fast Aiiastigmat lens 
and self-contained portrait attachment, has always 
sold at $100.00. In size, weight, mechanical features and 
simplicily of operation — everything but lens eqiiipmenl 
— .Model B,/..3..5, is similar to the higher priced Model B, 
f.1.9. Its fixed focus feature permits taking quick-action 
pictures by simply pointing the camera at the scene or sub- 
ject and pressing the lever. An exposure guide beneath the 
lens tells the correct diaphragm opening to use for prevail- 
ing light conditions. It has two finders — a Sight Finder on 
top, and a Reflecting Finder for use when taking pictures at 
waist height. A footage meter shows at a glance the length 
of film unexposed. 

Cine-Kodak, IModel B./.3..5, is truly a movie camera that 
any amateur would be proud to ow n — and it is a real buy at 

Ask your Cine-Kodak dealer for a demonstration. 



IH>%aCCH 1929 

Now! You Can Make Enlargements 

fVith the 

2. . . to this beautiful 
clear 2Vi x 3V* en- 

J From this . 

How many times have you found, in your 
personal movies, a mannerism, a fleeting ex- 
pression, so good, so true to life, so utterly 
characteristic that you'd give almost any- 
thing to have an enlargement made of that 
particular scene? 

Now, with the Bell & Howell Filmo Enlarger, 
operated in conjunction with Filmo Projector, 
such enlargements can be secured quickly — 
easily — expertly. With this simple, new de- 
vice, backed by Bell & Howell's 22 years of 

3. . . by means of this, 
the Bell& Howell 
Filmo Enlarger 

Dremophot Exposure Meter 

The Dremophot gives direct, accurate ex- 
posure readings for either FiLMO 70 or 75. 
The finest picture quality insurance you can 
buy. Price $12.50. Check the coupon. 

B, & H. Bead Screen, Type CX, erected, ready for use 

Self-erecting Bell & Howell 

Crystal Bead Screen 


' is the popular B. & H. Crystal Bead Screen no 

improved by the addition of a self-erecting feature. 
Two hinged side supports automatically snap into place 
and pull the screen taut when it is drawn from the 
spring rtiller in the carrying case. No vertical supports. 
Put up and taken down in a jiffy. 

Type CX Screen, partially open 
In two types: Type AX in durable black leatheroid 
covered, nickel trimmed case with suitcase style hand 
grip. Type CX — in wood case, of similar construction 
but lacquered in walnut brown, rubbed finish. 

Both types have superior projection surface. Millions 
of tiny frosted crystal beads embedded in a pure white 
field result in projected pictures which are brilliant in 
the extreme, yet pleasing to the eye. Price range $20 
to SAO- Mark coupon for details. 

Type AX closed foi 

Turret Head for the 

Eyemo Camera 

very similar to the Filmo 
70 Turret, is now avail- 
I able for the Eyemo cam- 
era. Any three Eyemo 
lenses may be mounted 
upon this Turret, and any 
desired lens of the three 
is instantly available, as 
it takes but a split-second 
to swing from one lens 
to another. For commer- 
cial news-reel and exploration use this equip- 
ment is ideal. Check coupon for details. 

New Type K Tripod 

The new Type K Tripod is exceptionally 
strong and sturdy, and has a maximum ex- 
tension of 56 inches. Legs 
are of well seasoned wood. 
They fold and unfold quick- 
ly, and are locked in place 
by snap catches at the 
joints. The lower sections 
are adjustable. 

This new tripod is fine 
for telephoto and other 
work which calls for rigid 
camera support. Price 
$8.50. Check the coupon. 

Geared Correcloscope 

for Filmo 70 

The Correctoscope, an 
efficient device for focus- 
ing and determining cor- 
rect lens diaphragm set- 
tings, has now been im- 
proved by the addition 
of a train of gears, as 
illustrated. These gears 
focus the cameralensauto- 
matically as the Correct- 
oscope lens is focused. Gears may be had 
aloneforapplication to Correctoscopes previ- 
ously purchased. Price $10.00. Check coupon. 

Combination Case and Screen for 
Continuous Business Projector 

Illustrated below is a complete continuous 
projector equipment for window, counter 
display and salesmen's use. The case con- 
tains The Filmo Projector with the B. & H 
continuous attachment. Extension screen 
folds back to close the 
case. Door on side 
gives access to pro- 
jector. Lightness, 
■ • F .. neatness, and com- 

f'JP' "^'''"N^B^l pactness recommend 
^^^^- this outfit for com- 
. mercial use. Price 
$30. Check coupon. 

I'll O %' ■ E IM j« 1^ E R I 

Direct From Your 16 mm. Films 

^ell & Howell Filmo Enlarger 

experience in the manufacture of 
movie cameras and accessories, any 
frame in a 16 mm. film can be en- 
larged to a 2^4 x3^i negative of fine 
quality — ready for regular develop- 
ing and printing. 

This new accessory, now available 
at your Filmo dealers, is a neat, com- 
pact device consisting of a tapered 
box, the small end of which is at- 
tached to the Filmo Projector, the 
large end having a special adapter 
which provides for a regular film pack. 

The small end contains a special 
enlarging lens. The bayonet-like shaft 
shown in illustration Number 3 is a 
gauge which automatically brings the 
lens to a sharp focus on the film at 
the end of the box. 

To make your enlargement, it is 
only necessary to remove the regular 
lens from Filmo Projector, slide the 
Enlarger into place and project the 
scene you want on the film pack 
adapter slide which may be seen by 
raising the hinged cover at the top of 
the box. Then remove the adapter 
slide and press the shutter of the En- 
larger. The result is an instantaneous 
exposure and a perfect enlarged nega- 
tive from any correctly exposed frame 
of reversal or positive film. 

Carrying Cases for 

Filmo 70 Turret Camera 

Two beautiful new cases are now available 
for the Filmo 70 Turret Camera. The open 
case above is for a Turret Camera on which 
a lens of four inch focal length is the longest 
used. The closed case accommodates the 
Turret Camera with six inch ma.ximum 
length lens. Both cases are of smooth black 
genuine cowhide and provide space for cam- 
era, film, and many accessories. Price $24.00 
and $30. Check the coupon. 

Making enlargements is fascinating 
and simple! Twelve enlargements in 
twenty minutes with a little e.-cperi- 
ence. Enlargements may be made in 
daylight. No darkroom necessary. 
The Enlarger includes special lens, a 
film pack adapter and one Film Pack. 

Circular Exposure Chart 
for Filmo 70 

Illustrated above is the new circular expo- 
sure chart for the Filmo 70 camera. It gives 
correct exposures instantly for all classes of 
outdoor subjects, including consideration of 
light intensity, time of day, and season. No 
subsequent mental modifications are neces- 
sary. Fits the smallest pocket. Available from 
your Filmo dealer at 25c or use coupon. 

or-Hobson Cook 
Fast Lenses for Filmo 75 

For indoor work and adaptation to Kodacolor 
filters for movies in actual colors, there has 
been an increasing demand for fast lenses for 
Filmo 75, and here they are — lenses of the 
famous Taylor-Hobson Cook quality. Both 
are of one inch focal length with maximum 
apertures of F 1.5 and F 1.8. Entirely new in 
design, extremely compact and distinguished 
by optical quality, the prices are $63.00 and 
$51.00. Mark the coupon. 


BELL & HOWELL CO., 1828 Larchmont Ave., Dept. C. Chicago, 111. 

New York, Hollywood, London (B. & H. Co., Ltd.) 

Established 1907 

BELL & HOWELL CO., Dept. C, 
1(J28 Larchmont Ave., Chicago, III. 

Please mail me complete information on n Filmo Cameras 
I Filmo Projector r Filmo Enlarger DBead Screens DEVEMO 
Turret Q Type K Tripod D Geared Correctoscope D Contin- 
uous Projector Case. D Filmo Turret Cases D Filmo 70 
Exposure Chart D Filmo 75 Speed Lenses. D Dremophot. 




ni/mRCH 1929 


Vocal A tialysis 

IN an attempt to discover tlie secret 
of beautiful voices, the action of 
singers' vocal chords will be re- 
corded on the new sound films in a 
novel educational experiment planned 
by Professor G. Oscar Russell, direc- 
tor of the Ohio State University phone- 
tics laboratories, Columbus, Ohio. 
Through talking films, it is believed 
that the unusual development of opera 
singers' vocal systems in action may 
be brought under scientific observa- 
tion. It is hoped Uius to determine 
just what accounts for increased vocal 
performance, and that a more effective 
course of study, based on the informa- 
tion so gathered, may be developed 
to supplement the present methods of 
voice training. Professor Russell is 
making the tests at the request of the 
Academy of Teachers of Singing. The 
Carnegie Foundation is cooperating in 
the research and it is expected to take 
about two years to completely gather 
and organize the information desired, 
so that it may be put to constructive 
educational use. 

Bridge Test Films 

A 35mm. film showing how an aban- 
** doned, modern, concrete bridge 
over the Yadkin River in North Caro- 
lina was tested, to determine the maxi- 
mum strength of this type of structure, 
has just been released by the United 
States Department of Agriculture. 
Tests of the bridge, which was no 
longer needed because of a dam built 
in the river, were made by the engin- 
eers of the North Carolina State 
Highway Department under whose 
direction officers from the film bureau 
of the same department produced the 

The bridge was about a quarter of a 
mile long. There were seventeen 

News of Visual Education in Schools and Homes 

Edited by Louis M. Bailey 

spans, three of which were 146 feet 
in length, the others being concrete 
girder approaches. Under the arch of 
one of the middle spans a scaffolding 
was erected on which the engineers, 
with their instruments, took measure- 
ments as loads were imposed in differ- 
ent positions upon the structure. Al- 
though the bridge did not collapse 
under even the heaviest load, it did 
develop some serious cracks which 
would have made it dangerous for 
traffic had its use been continued. 

Recorded on film, these tests deter- 
mine for future reference the amount 
of weight this type of bridge can safe- 
ly carry. They also show points of 
possible defect in bridge construction 
which will be generally helpful to 
engineers working on other similar 
building projects. 

About twenty minutes are required 
to run the film. Requests for it should 
be addressed to the Office of Motion 
Pictures, United States Department 
of Agriculture, Washington, D. C. 
Transportation costs are to be paid by 
the borrower. 

Good Will Film 

POLLO WING closely President-elect 
■*• Hoovers good-will visit to South 
America, motion pictures of student 
life at Wesleyan University will soon 
he shown in colleges throughout 
Brazil, under the auspices of the 
"Committee on Friendly Relations 

Among Foreign Students." These 
films were taken by the Alumni Coun- 
cil of Wesleyan to acquaint students 
in other universities with the activities 
of that college. Shots include campus 
scenes, fraternity houses, the teaching 
and student bodies, class reunions, 
commencement, football games and 
various other facets of college life. 

This sort of film is expected to do 
much to promote friendliness among 
foreigners toward our educational in- 
stitutions and the American people 
in general. The power to break down 
prejudice is one of the fundamental 
values of motion pictures. Under- 
standing is the basis of appreciation 
and good-will and the universal lang- 
uage of the film is the perfect medium 
for bringing about this feeling be- 
tween nations. 

Electrons as Film Stars 

REALIZING early the tremendous 
value of motion pictures as an 
educational medium, the Training Di- 
vision of the Bureau of Navigation 
of the United States Navy has for sev- 
eral years employed films in its edu- 
cational work, according to F. Lyie 
Goldman of the Carpenter Goldman 
Laboratories, Inc. 

A characteristic use of the motion 
picture by the Navy, he points out, 
was that of a series of films on oil- 
burning marine boilers. The Navy 
found itself confronted with a great 
problem when most of the ships were 
being converted from coal-burners to 
oil-burners. The theory and use of 
(Continued on page 181 1 

s Used with Telling Effect to Clarify Theory 
he Electrical Films Described Above. 


Model 3T 
Victor Cine Camera 

(Turret Equipped) 

For Quick Action--- 

3 Lenses Instead of One! 

Equipped with a battery of three lenses mounted on a revolving turret, the Model 3-T Victor Cine-Camera is 
always ready for quick action. 

— ready at a moment's notice to "shoot" a distant scene or a close-up, whatever the existing conditions may 

Just a slight turn of the turret and the right lens snaps into place. 

No time lost changing lenses. No lost scenes with this Camera. It is instantly ready for every emergency. 

Then, too, if you would wish to take SLOW-motion and normal speed scenes on the same film under the same 
light conditions — you may do so. 

The three lens turret of the Model 3-T Victor Cine-Camera is more than just a feature. It is a utility first fully 
appreciated after you have experienced the joy of taking pictures with it. 

TRY ONE — then you'll understand. 

Victor Animatograph Company 



Branch Sales Office: 242 W. SSth St., New York 

Possessing every attribute of the highest grade professional projectors, the Model 3 Victor 
Cine-Projector brings an entirely new high standard of screen quality to the user of 16 mm. 
motion picture film. 

Superior illumination, forward and reverse action, hand and motor driven rewind, over- 
size universal motor, interchangeable pedestal base, and tripod stand, high-grade projec- 
tion lenses of several focal lengths, quick-set framer. 

— features comparable to no other projector. Radically new, radically different — in a class 
by itself! The highest type motion picture projector that skilled workmanship, combined 
with the best of materials, can produce. Ask your dealer for a demonstration. 

"The Victor Cine-Projector permits the showing of one film 
hundreds of times u'ithout tlie slightest damage." 



• * 

lOVIE im;%keiss 

which We Are Indebted ti 
It Has Been Exhibited i 
Exhibitions and Now You May Incorporai 
Your Films. Suggested Title by Ralph R. 


{Continued from page 178) 

the new equipment had to be taught 
the firemen as soon as possible and a 
series of motion pictures on vari- 
ous phases of the work was deter- 
mined upon as one method of attack- 
ing the problem. The experiment 
proved quite successful, as reports 
from the officers of the fleet soon 

Motion pictures were found to pro- 
duce the desired results. They secured 
the closest attention from the men and 
thus solved at once the greatest prob- 
lem of the average instructor. The 
impressions received were lasting, and 
were made in the smallest possible 

As a result of the success with this 
series, the motion picture presentation 
of a complete course in the principles 
of electricity was determined upon. 

These films were made by the Car- 
penter-Goldman Laboratories, Inc., in 
co-operation with and under the super- 
vision of the Navy Department. The 
electrical manufacturing industries 
also rendered valuable co-operation. 
The eff'orts of all concerned, however, 
were to produce a series of films deal- 
ing with essentials and having no bias 
of any kind. The Navy is not specif- 
ically mentioned in the treatment of 
the subject so that the films have 
proved quite adaptable for use by 
civilian high schools and colleges. 

This series includes the subjects 
of Magnetism, Electrostatics, Current 
Electricity, Electromagnetism. Cur- 
rent Generation and Electrical Meas- 
urement. According to present plans, 
the series will include Electric Motors, 
Electro-Chemistry, Gaseous Induc- 
tion, Electrical Communication, Ra- 
dio Transmission and Reception, Elec- 
trical Control Devices and possibly 
other subjects. 

Theory is strongly stressed through- 
out. The electron theory is presented 
in detail and electric currents are rep- 
resented in terms of electron move- 


means sunlight indoors any time 

One lamp will make movies 
16 per second at /3.5 at 8 
to 10 feet jrom subjects; at 
fl.5 to f 1.9 at 15 to 20 feet. 
StiHs at/4.5 at 8 to 10 feet 
\/\Oth to 1/15 second. 

Scientific design enables 
Little Sunny Twin using 
only 1 5 amperes to give as 
much light as a 20 ampere 
twin arc and much more 
than incandescent lamps of 
the same current consump- 
tion, and this volume of 
light with only one-half the 
size, weight and price. 

Compare Little Sunny 
with any lamp or series of 
lamps on the market for 
quality and performance. 
The low price attracts; the 
quality and performance 
surprise and satisfy. 

Little Sunny Twin is of the semi- 
automatic type and uses full size car- 
bons 5/16 X 12 in. Pulling the knob at 
bottom of lamp down and releasing it 
lights the arcs which burn steadily for 
about four minutes. For long continued 
burning it is only necessary to pull the 
knob once every four minutes. 

The illustrations show its construc- 
tion in detail. Use the 12 in. ruler 
shown to judge its compactness. Note 
how neatly the reflector (perfectly 
rigid when set up) folds over the front 

of the lamp. The lamp 
housing, etc., are made of 
steel finished in black cry- 
stal, the four-sided reflec- 
tor aluminum finish inside. 
All other metal parts are 
brass excepting the curved 
satin finished aluminum re- 
flector in back of the car- 

The center illustration 
shows the various working 
parts and how the four- 
sided reflector is hinged to 
the lamp with no loose 
parts to get lost. Note 
the sturdy construction 
throughout. The last three 
show Little Sunny Twin 
ready for action with re- 
flector locked in position. 
Note the perfectly ven- 
tilated lamp housing and 
pleasing appearance. Little Sunny 
Twin is a thing of beauty and strength 
and with ordinary care should last a 
lifetime. Can be used on any 100 to 
120-volt circuit either D.C. or A.C 

"Little Sunny Twin eminently fills a 
need in amateur cinematography." 

JAMES IVERS, Salt Lake City. 

"O. K. in every respect. It is a good 

job both electrically and mechanically and 

I believe that you are giving more lamp 

and light for the price than anyone." 

E. W. PORTER, JR., New York City. 

$25.00 COMPLETE 

postpaid from maker to user (no sales through dealers at 
this price) with heavy folding nickel-plated stand 6 feet 
tall, 15 feet of cord, 3 White Flame carbons, 3 Panchro- 
matic. Extra carbons ^2.00 per dozen, ^15.00 per hundred. 
Also supplied on special order to use only 10 amperes giv- 
ing enough light for movies at /3.5 at 6 feet; at /2 or faster, 
10 to 12 feet from subjects, at the same price. 




I«I/%RCH 1929 


Felix Tries to Rest 
100 feet $5.00 



Felix Doubles for 

300 feet $22.50 

lin — Felix the uproar- 
„. his best. These films 
ady for \ou at any of the 
s bielow.' 



i;aslman Kodak Stores Solatia M. Taylor 


Alves Photo Shop, Braintree 


Home Movies, Ine. J. C. Freeman & Co. 


Smith Office Equipment Co. 


Detroit Camera Shop 


Starkweather & Williams 



The Harvey & Lewis Company 

WATERBURY ,, '^^^^'^"^' 

Curtis Art Company E. S. Baldwin 


Hudson Radio Laboratories 


B. Gertz, Inc., Jamaica Lovett Cine Studio 

Wm. C. Cullen Gillette Camera Stores 
Eastman Kodak Stores, Inc. 

Fred'k. Loeser & Co. Schaeffer Company 
Williams, Brown & Earle 

Mortimer's Twelfth Street Garage 

United Projector & Film Corp. 

Cunningham's Lindemer s 

Buffalo Photo Material Co. 

ROCHESTER „^a'^ „ 

A H. Mogensen Kelly & Green 


Tampa Photo & Art Supply Co. 


Franklin Printing & Engraving Co. 


Star Electric & Engineering Co. 


Aimer Coe & Co. A. S. Aloe Co. 


Visualizit Inc. Ideal Film Corporation 


Leavitt Cine Picture Co. 


Photographic Stores Ltd., Ottawa 

Regina Films Ltd., Regina 


American Photo Supply Co., S, A. 


Honjo & Co., Kobe 


Frank Wiseman Co., Aukland 


100 East 42nd St., New York City 

•These dealers are also rental stations 
lor Home Film Libraries, including the 
netv series 0/ J929 Features. 

iiient. A major portion of each sub- 
ject is made up of animated drawings 
and very realistic combinations of an- 
imation and actual photography. 

Method and clarity of presentation 
have been carefully worked out, as 
well as the technique of pictorial ex- 
pression. Every scene was photo- 
graphed for an especial purpose, mak- 
ing possible a continuity not achieved 
in subjects edited from already exist- 
ing material. Giving a clear visual 
concept of basic electrical theory, 
these films are particularly suited for 
high school and college physics 
courses. But while the information 
level of the high school physics stu- 
dent has been used as the starting 
point, the films are still of great value 
to tlie more advanced student, for they 
visualize the previously invisible, the- 
oretic electrical phenomena and fur- 
nish a better foundation upon which 
the student may build. 

In addition to being used by the 
Navy Department, these films are 
available to the public on either 16 
or .35 mm. stock through the DeVry 
School Films. Inc.. 1111 Centre Street. 
Chicago, Illinois, and 141 West 42nd 
Street, New York, N. Y. 


( Continued from page 167 1 

tice of them any more. Such trick 
effects are no longer novelties to the 
sophisticated movie fan but, neverthe- 
less, camera men are ever trying to de- 
vise new trick effects or to dress the 
old ones in new clothes. 

The Hollywood studios welcome the 
wide spread popularity of amateur 
movie making. Camera men say that, 
as a result, their own work is more 
appreciated. They confess that it has 
made them more careful and more 
exacting, as they wish to hold them- 
selves as models for the amateur to 
follow. As the amateurs become more 
expert the camera men of Hollywood 
will try to blaze new trails in their 
effort to maintain a lead in the race. 
With the unlimited resources of the 
studios at their command the race is 
hardly an even one. but. if the ama- 
teur in his experimentation will take 
advantage of the progress already 
made by the professionals there is 
greater hope that his work may help 
to elevate the art of movie making to 
the high plane that it deserves. 

THE W. B. & E. 


A convenient liglit on your Filmo 
Projector that enables you to operate 
and change your reels with plenty of 
illumination that does not attract the 
attention of or annoy your audience. 


ng your projccto 

,.u ..t.a ^ires needed. 
Just pull the switch and the Light 
is there— VVhen and Where you .( 
need U. 

Easily attached to your machine 
in a few minutes and projector 
can be packed away in case with- 
out detaching. 

Price $6.00 

From your Dealer or Direct 

"The Home of Motion Picture Equipment" 

Filmo Motion Picture Cameras and 


918 Chestnut St., Philadelphia, Pa. 


''f,veni/iir2g Known inJHotion Kciures " 


■ •» '»■■ 


We specialize in the developing and printing of 16 
mm negative and use the late type positive contact 
HUTTON 16 mm. Printers. A trial will convince 
you on your own screen as to our quality. 

We make prompt shipment of raui tiegatme 

108 N. Dearborn St. Chicaijo. Ill 



Complete editing and titling I 
I VF.\TL[U>AY1 service. (16 mm. or stand- 1 
ard.) Cinematography. 


I 2 540 Park Ave. CAdiUac 5 260 1 



SINCE 1916 
Photo-Filter Specialties 

,1 CI. produce Fog Scenes— Moonlight 

My Fdtns P;_j j^,g^^ 'Effects-An,u.h.r.^ 

are used Anytime. Also Soft Focus and 

hy all various other effects, just like 

Holhwood ffy -"^k^ '<=" '"l,,"virtoo'' 

It s easy — you make em too. 

St!«im [-ii f^ii you how. 



Ask your dealer, or write to 



1927 W. 78th St. Los Angeles, Calif. 



(Continued from page 165) 

the other servant; whispers a joke to 
him. Servant laughs. Uncle Pio points 
wilii his thumb over his shoulder to 
the loocl in the dining room; then 
pitifully lays his hand on his stomach. 
His face takes on a pained and con- 
torted expression, registering hunger. 
Servant at first indignant; then, look- 
ing into dining room, servant catches 
sight of. . . 

Scene f. Close Up of an unfinish- 
ed glass of wine. 

Scene 5. Return to Scene. Ser- 
vant winks at Uncle Pio. takes him in. 
Both exit through doorway. 

Action showing any deference to 
Uncle Pio, such as waiting on him. 

Scene 6. Long Shot. Dining 
Room. Uncle Pio and servant enter. 
Servant walks toward table, quaffs 
unfinished glass of wine. Uncle Pio 
sits down and begins to eat raven- 

Scene 7. Close Up. Uncle Pio eat- 
ing, grabbing food right and left. As 
he still has his mouth full, he hears 
something on his right and turns. 
Look of surprise. 

Dramatic entry by the Governor 
{This would make him too little of a 
human being and of a politician. He 
must be planted as presenting a poker 
face) . 

Scene 8. Medium Shot or Long 
Shot of other doorway at end of din- 
ing room. The Governor has just 
pushed open a portiere and is stand- 
ing looking at the two men. 

Scene 9. Medium Shot. Uncle 
Pio jumps to his feet, wipes his mouth, 
takes on a very humble attitude. The 
servant bows and pretends to com- 
mand Uncle Pio to behave himself. 

Scene 10. Long Shot. The Gov- 
ernor advances toward Uncle Pio, 
looks him over, asks a question. Uncle 
Pio nods assent. Governor dismisses 

Carry the whole action in a long 
shot or in a big close up (Uncle Fid's 
bodily attitudes tell the story as ivell 
as his face, and enough of his body 
should be included) . 

Scene 11. Medium Shot. Uncle 
Pio very polite but looking astutely 
out of the corner of his eye, when he 
notices the Governor turning around 
to see whether the servants have de- 
parted as ordered. Governor briefly 
demands what it is all about. Uncle 
Pio whispers close to his ear about 
the plot. 

Subtitle saying. There is a plot 
against your life (too obvious). 

Title (Spoken). And they plan to 
carry away Your Excellency under a 
load of hay! 


For standard and 16 mm movie cameras. 
Zeiss Tessar f 2.7 and £3.5 Tele-Tessar £6.3 
Finders Filters Sun-shades 


485 Fifth Ave., New York 
728 So. Hill St., Los Angeles 

Don't Waste Film and Opportunity 

The CINOPHOT is the instant, automatic 

for all amateur and professional Cinematography 
Under ANY Light— .'\ny\vhere— At All Times 

Cinophot, complete with sole leather case 




JM;%RCH 1929 



For those who would but can t/T 
and for those »vho can but didn't 
HEY TAXI get to the Cannibal Isles, 

who believe in safety last. 


SO SIMPLK for autoists. 
for thi 

, ., , , , personally conducted tours to th 

for those who have a servant prob- ) pj.-j ^g, 

nd Samoan Isle 

for the newlyweds. 

for those who have been ther 


those who want to brew it '"f everyone, 


Always funny, never tiring. 

TOM MIX'S and the CAR- 
TOONS. In an endless variety and 

they can never lose their thrill. 

the first east-west ^ight. 






IjiHlte V- c^^p^'tfe cc^a\&^ 

HEY, B1L.L. 

Where'd ya see that article on home developing Siitfin 
wrote? MOVIEMAKERS? Which one? Oh, I haven't 
got any file! Lend me yours, will you? .... Well, you 
needn't be so snippy about it. . . . You must have the 
flu coming on, you're so darned cross. I WILL get a 
binder for myself! Perhaps you'll come off your high 
horse long enough to tell me what I'll have to pay them 
for it? Two? One for Volume I-II, '26 and '27 — 
One for Volume III, '28 — one-fifty apiece? All right, 
go back into your hole! Good ISIGHT! 

and here's 
the coupon 
he signed 

To Binder Department 

105 West 40th Street, 1\. Y. 

Inclosed is $ for the 

binder (s) noted below: 

VoL I & II 

VoL III _ 



City ..._ 

State ..._ 

(A subtitle taken from the middle 
of a conversation, if it embodies the 
substance of it, is more effective than 
a blunt statement of fact.) 

Theatrical action by the governor, 
such as pacing agitatedly up and 
down {out of character) . 

Scene 12. Return to Scene 11. 
Governor half-amused, half-serious, 
asks a few rapid questions, which 
Uncle Pio answers rapidly. 

Scene 13. Close Up. Governor 
thinking to himself, about his own 
safety. Then he thinks of Uncle Pio 
and turns his face toward him. 

Scene 14. Close Up. Uncle Pio, 
expectant. Perhaps a little comedy 
touch, as if he were to wink at the 
Governor, then catch himself up. 

(Note: Two separate close ups 
show better the individual thoughts 
of the two characters.) 

Scene 15. Medium Shot (Note: A 
long shot might be more direct, but it 
is not desirable to jump from a big 
close up to a long shot). Governor 
thanks Uncle Pio, pulls out a purse 
and gives him some money, which 
Uncle Pio accepts avidly, then speaks. 

Title 2. You shall be given a room 
in the servants' quarters, and your 
meals. I want you to report to me 
twice a day. 

Scene 16. Return to Scene. 
Uncle Pio overwhelmed with grati- 

Scene 17. Long Shot. Governor 
calls servant, who enters, takes Uncle 
Pio in tow. Uncle Pio bows his way 
out. Governor stands looking back at 
him, and looks well pleased with him- 
self. Calls a military-looking man 
and gives orders. Cut. 

Many corridor scenes on the way to 
servants' quarters {unnecessary and 
costly; save entrances and exits when- 
ever possible) . 

Scene 18. Long Shot. Tortuous 
corridor at foot of winding stairway. 
Servant is escorting Uncle Pio. They 
are in friendly conversation. They 
enter one way and exit the opposite 
way, coming toward the camera. 

Scene 19. Long Shot. Doorway of 
servant's room, from corridor side. 
Door is ajar disclosing plain bedding. 
Servant and Uncle Pio enter scene 
coming toward camera, enter room. 
Servant gives Uncle Pio possession, 
exits same way as he came. 

Writing a letter to the Governor. 

Scene 20. Long Shot. Interior 
room. Uncle Pio closes the door, 
looks around, dismally. Then sits on 
bed, counts his money. Gets up and 
looks out of window; sits on window 

Scene 21. Close Up. Uncle Pio 
looking bored. Slowly turns head 
right and left, examining walls. 
Yawns. Turns head toward window. 


IMO-VIE im;«i«ek» 

^ Four Merry 
For March! 



SHOW* . . 

The mischievous Gang, 
ever ready for new antics 
to delight their legion 
friends, here determine 
to run a Big Show of their 
own when their ingenious 
efforts to "crash the gate" 
of the circus are thwarted. 
The most outlandish men- 
agerie in the world is the result. Our Gang manages to get plenty of fun out 
of their queer enterprise, until their makeshift circus is unceremoniously 
broken up when Jackie turns the "wild" animals loose. A sparkling comedy 
in the best Our Gang manner. No. 7005. One 400-ft. reel. Price ^30.00. 

Harry L^aaodo^^ in 

••^»atlIl•d!ly Alteriiooii" 

World-famous Harry manages to spend an 
afternoon with two young ladies and only 
a dime to keep them company. How he 
keeps them amused makes unusual fun. 
Harry's antics are as ever side-splitting. 
No. 7007. One 400 ft. reel. Price ^30.00. 


Procure ^ew Nprin;; Catalogue on 


From Your Dealer or write lor it to 
Pathe Exciiange-3.> ^V. 45"' St., X.Y. V. 


A most spectacular 
and breathless nov- 
elty in which re- 
nowned "stunters" 
perform their most 
dangerous feats for 
the all-seeingcamera 
eye. Daring leaps 
from airplanes in 
mid-air going a hun- 
dred miles an hour; 
acrobatics at the 
dizziest structural heights; narrow escapes in sky. air 
and on earth. No. 7008. One 200 ft. reel. Price ^15.00. 

RILLV R£:VA\ in 
^^llobokeii to HoUyM'ood^^ 

Inimitable Billy Bevan in a coast-to-coast auto jaunt in 
which he picks up a couple on the road and after 
getting them in trouble, discovers the man is his 
new boss. A great laugh-maker. No. 7006. One 
400-ft. reel. Price ^30.00. 


]»I/%RCH 1929 

BASS . . . 



its appointment as sales 
representative of the 


Model L 
and the world renowned 


Professional Motion Camera 

Latest catalogs and infor' 
mation on request. Your 
old camera may he traded 
in at its present cash 

Bass Camera Company 


Motion Picture 

in all branches 



845 S. Wabash Ave. 
Chicago, Illinois 

Then, exasperated, starts to get up. 

Scene 22. Long Shot. Uncle Pio 
gets up, opens window, looks out, 
take bedsheet, makes rope, slides 

Scene 23. Long Shot. Exterior, 
loot of house wall. L'ncle Pio lands, 
looks back and up. 

Several shots of streets, etc. Details. 

Scene 24. Close Up. Uncle Pio 
breathes a sigh of relief, sticks his 
hands in his pockets, whistles and 
exits. Fade out. 

Title .3. Having narrowly escaped 
landing a safe job. Uncle Pio returned 
to his old haunts to spend his money. 

Scene 2.5. Medium Shot. Exterior 
(or Interior! Cafe. Uncle Pio drink- 
ing and playing cards. Fade out. 

Scene 26. Medium Shot. Interior 
Palace dining room. Fade in. Ser- 
\ant is telling Governor, seated at his 
meal, that Uncle Pio has gone. Gov- 
ernor puzzled. Fade out. 

As one can see, it takes much more 
time to write a continuity than a skele- 
ton story, but then one is able to vis- 
ualize every detail in advance, instead 
of having to go back when one has for- 
gotten an important point. Notice par- 
ticularly the progression in the char- 
acter development. As this sequence 
is written, it is entirely about Uncle 
Pio. The other characters are second- 
ary, and act merely as foils to bring 
out what we are to know of the old 
man. We miglit analyze the psychol- 
ogv of the sequence as follows: 

1. Uncle Pio is a somewhat disrep- 
utable character (shown by the fact 
that the guard brings him cautious- 
ly) . 2. He has a good idea of his im- 
portance, and likes to play politics 
( as shown by liis whispering 1 . 3. He 
is desperately poor and hungry las 
shown by his looking at the food). 
4. He knows how to use his wits ( as 
shown by his persuasiveness). 5. He 
knows how to behave toward his bet- 
ters ( as shown by his attitude toward 
the Governor when the latter enters). 
6. He wants money and knows how to 
get it; he has ability (as shown by 
the way he accepts the gift). 7. He 
hates solitude and confinement (as 
shown by his behavior after reaching 
liis room). 8. He would rather lose 
everything than be a servant or an 
employee (as shown by his departure 
and return to his old haunts). 

Note also that there is not, in the 
whole sequence, anything but that 
necessary to establish the character, 
and particularly that there is nothing 
in any way conflicting with it. Now 
go back to the synopsis of the story, 
and see how completely the author's 
intention has been carried out. Any 
director, any actor, would know how 
to get the desired result — which is tlie 
object of a continuity. 


film of your product 
use in foreign lands 
the ideal nucleus for a 
real educational advertis- 
■]J; ing film — 


Units are now in the Mediterranean 
and the West Indies ready to make 
your films in those sections. 

Travel Movie Films, Inc. 






Apply to the 

Y. M. C. A. Motion Picture Bureau 

1 20 W. 4 1 St St. 1 1 11 Center St. 

New York City Chicago, III. 


: Mm. flare, shoiiiing DctmUMe Hjiidl. 

Light a Meteor Flare (Powerful Fire- 
work Torch) and take a movie of the 
party — no equipment necessary. The 
same flare the professionals use. Five 
sizes, '/2, 1, 2, 3 and 4 minutes of light. 
Especially for outdoors. Also electrical 
flares fired by a flash-light battery, for 
special work. Several flares may be 
fired simultaneously. 

John G. Marshall 

Meteor Photo Chemicals 
1752 Atlantic Ave., Brooklyn, N. Y. 


(Continued from page 152) 

technique of still photography, with 
its painstaking effort to reproduce 
famous religious paintings; in it Mr. 
De Mille could not resist the tempta- 
tion to be "grand" in his scenes of 
luxury round Mary Magdalene; 
finally, Mr. Warner, in an effort to be 
deeply reverent with the central char- 
acter, succeeded in being stupid and 
uninspired. Sadie Thompson, a diffi- 
cult tale to handle, what with the 
"morals of the movies" and the cen- 
sors, was caricatured so broadly — in 
order to leave no mistake about the 
fact that the producers deprecated 
both the "reformer" and the "lost la- 
dy" — that it became essentially farce. 
With due respect to the vote of the 
critics we stand by our guns and re- 
peat that the exclusion of these four 
photoplays from our recommenda- 
tions has — if we are permitted to hope 
that our reviews serve as genuine 
guides to our readers — saved intel- 
ligent movie-goers from irritation. 

Of the forty-nine runners-up, we 
recommended nine. We would admit 
that ten others might have been recom- 
mended had we been able to devote 
the space necessary to review them. 
Our reviews included several pictures 
still being shown which dated back to 
1926 and 1927 and which, naturally, 
were not covered in the critics' vote, 
as well as a number of shorter sub- 
jects. We also reviewed Four Walls, 
Mother Machree. and Ten Days thai 
Shook the World, three pictures that 
did not make the critics' list at all. 
Again we believe that the cintelligen- 
zia will see these without writhing. 

Out of the ten best pictures of the 
year, according to the vote of the 
critics, a majority — almost a plural- 
ity — are of the type the intelligent 
person will enjoy for one reason or 
another. This indicates that commer- 
cial movie offerings in the silent 
drama were on the way to becoming 
art before the silent drama was sub- 
merged in sound waves. Not one 
"talkie" was included among the best 
ten by the critics. The two "talkies" 
that we recommended. Lights of New 
York, because of its historical sig- 
nificance as the first full-length talk- 
ing picture, and Interference, whicli 
we discussed as revealing a gift from 
the movie to the legitimate stage, will 
be on the 1929 list of pictures to be 
voted on. 

Lest Movie Makers be considered 
"up-stage" or "high-brow" because of 
our frank evaluation of photoplays as 
fare for the intelligent, we offer these 
comparisons to show that we agree, in 
the majority, with the best critics of 
the daily and fan press and that we 
have been not unreceptive to the new 
Cinderella of the screen — the "talkie". 


i^f ■^'MiTffff fr rr 



in Art Titles 



yy\vy not enjoy the pleasure 
of Fine Art Titles? Send 
$2.00 and copy for 3 titles 
(JO or less words per titled 
and get your tryout. 

— *«!#ili 

^^p^ k. 


Phone, Pennsylvania 2634 
1125 Broadway, New York 


IM/%KCH 1929 

March Library Releases 

A Thomas H. Ince Production 




Three bij stars in a fascinating inside story of 
Big League Baseball. No. SF-1. Code— 
SFABA. 5 — 400 ft. reels. 

"Renting Houses for Songs" 

A Wra. and Irene Finley production featuring 
songbirds on the Finley estate. No. M-151. 
Code— MUFFM. 100 ft. Price, $7.50. 

"Don Q — The California Quail" 

Pictures a wonderfully trained California 
Quail. No. M-152. Code— MUFFO. 100 it. 
Price, $7.50. 

"Felix the Cat with the Cowboys" 
Western cowboys making it hot for Felix. 
No. M-1S3. Code— MUFFP. 100 ft. Price, 
$7. SO. 

"Felix the Cat in Dutch" 

Felix in Holland and "in Dutch." No. M-154. 
Code— MUFFR. 100 ft. Price, $7.50. 

Send today jor Filmo Library Catalogue and 
Bulletin of Current Releases. 


Dept. C. 1828 LarchmonI Ave.. Chicago, III. 


Famous as the home of Filmo 
and of Bass Motion Picture 

Nineteen years of specialization 
for the professional and ama- 
teur cinematographer. Bass 
Knows How! 

Filmo Cameras 


*ls of precision 

The Filmo 70 


1 wherever cam 

eras are used as 

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arld's best motic 

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complete with 

Cooke /3.5 lens 

and c 

arrymg case at S180.00. 


75 . . . the da 

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with Cooke ji 

5 lens and carry- 

ing ca 

sc at S120.00. 


Projectors . . . 

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St selection of m 

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yContiniieJ jram page 150^ 

A. 1 . — He Iws a lot to learn." This 
was a close up of my grandson, aged 
thirteen months, trying to climb up 
onto a sofa. It proved to be a knock- 
out. He realized I was looking at him, 
and he couldn't understand why I 
didn't give him a lift. It was so good 
that I took an extra long shot of it, 
and now my audiences eat it up. 

I went on in this fashion with shots 
from all over this country and Eu- 
rope, taken on journeys, yachting 
cruises, fishing and canoeing trips and 
what not. I ended up with something 
I have never seen anywhere else, a 
dandy picture of a sunset over the 
water. There is a rocky beach, with 
sleepy breakers gently rolling in and 
breaking, sending the fading light 
shimmering, as the sun actually goes 
down and sinks below the horizon. It 
is a beaut)', even if it was an accidental 
shot, just to see how it would turn out. 

This Neius Reel goes over bigger 
than any film I ever made. It gets by 
the hyper-critical family and it has 
tamed the caustic friends. I have 
frequently been requested to bring it 
along when we have been invited to 
dinner, and by people who have all 
seen it more tlian once before. 

I do not pretend, therefore, to say 
that I have solved the problem of what 
makes a film interesting, but I do 
claim that I have subdued a family, 
which is of the earth earthy, as well 
as that bunch of very hard boiled 


(Continued from page 160) 

gram. As previously stated, the prob- 
lem of introducing any new method, 
regardless of its points of superiority, 
is here encountered. However, many 
recruits to welding are being brought 
in by these same films, as a result of 
showings to this group in factories, 
mines and manufacturing plants of 
every description, and at meetings of 
the various engineering and scientific 

A further use of this motion picture 
material which, however, is customary 
with other big companies, lies in 
bringing new technical developments 
to the attention of the sales personnel. 

The films themselves are produced 
by the company's Technical Publicity 
Department, under the direction of an 
engineer who is well informed on 
welding and is, in addition, an expert 
cameraman. Sometimes they are sent 

on tour with a lecturer who presents 
them to the various groups. In other 
instances they are sent on request for 
local showings. A special trunk has 
been devised for their transportation 
in which is contained the projector 
and the particular reels desired. Thus 
a complete equipment may be sent on 
application to any point and utilized 
with the greatest ease. The projection 
is usually supervised by the district 
representative of the company who 
also delivers the explanatory lectures 
and answers any questions which may 

A typical film, Oxy - Acetylene 
Welding and Cutting, consists of four 
reels covering a wide range of weld- 
ing and cutting operations. There are 
at present more than a dozen films on 
various allied subjects in the collec- 
tion. Concerning recent exhibitions- 
of this and others of the films. The 
Inner Cone, house organ of the com- 
pany, states: 

"Showings have been made to al- 
most every conceivable kind of gath- 
ering and under widely varying con- 
ditions. In Boston a group of men 
stood in the machine shop of a ship- 
yard with their overcoats on after quit- 
ting time and watched every reel of 
the picture thrown on a bare brick 
wall. At a steel plant in Canton, Ohio, 
all of the officials from the vice-presi- 
dent down, turned out and displayed 
keen interest. Out in Pocatello, Idaho, 
three shows were given and men came 
from all the surrounding country just 
to attend, some even coming specially 
from Boise, 250 miles away. 

"Besides these, there have been 
many other parallel instance of strong 
interest in the pictures. Many times 
after the showing men have stayed for 
an hour or more to ask questions 
about the process. Entire assemblies 
of large high schools have seen the 
films; engineering societies, cham- 
bers of commerce, purchasing agents 
and similar associations, as well as 
classes in many of the large colleges 
and universities, have had showings 
and a majority of them have asked for 
a return engagement, oftimes in cases 
where initially they were unwilling 
to have the pictures shown at all. The 
general opinion is that these pictures 
are much more worthy of attention 
than most of the industrial films seen 
heretofore, since they are not at all a 
commercialized affair, lacking all ele- 
ments of boasting and hornblowing 
for the industry that sponsors them." 

The company, it is declared, con- 
siders this educational program one 
of the most important phases of its 
entire promotion work and the part 
which film is playing in it will have 
special significance to all who are in- 
terested in this use of the motion 

M /m 14 E R S 


(Continued from page 155) 

the background, being slightly out of 
focus, emphasizes the sharpness of the 

Now, here are principles that any 
amateur can grasp. It is evident that 
he should work for depth in his pic- 
tures to overcome the effect of the flat 
projection screen. It is clear that the 
impression is produced by contrast- 
ing light and shade in almost every 
case, and that this impression is im- 
proved and heightened by other de- 
vices, such as sharply defining the 
subject against a neutral background 
{Figures 1 and 2) , by use of shadows 
{Figure 5), by perspective {Figure 
6), or by many other methods which 
he may observe or which his own in- 
genuity will suggest. But the results 
he achieves are the product of one 
thing only — thinking in terms of the 
requirements of the screen picture. If 
he does this, every fine professional 
effect, every beautiful scene or pic- 
ture will translate itself automatically 
into his own requirements. 


(Continued from page 151) 

to mark the beginning of the sound 
recording. In this type of marking, 
the film is threaded in the projector 
so that the first frame following these 
marked with the cross is in the aper- 
ture, and the needle is set upon the 
record at the scratch. 

Now we come to the most satisfac- 
tory system of them all. 

A radio loud speaker unit is again 
mounted upon the recorder of a dic- 
tating machine. This is then coupled 
with the transmitter button and the 
amplifier as has been described. A 
QRS combination camera, since it is 
designed so it can easily be electrically 
driven, is set upon its projection base, 
and the motor attached, but the lamp 
house is, of course, omitted. The con- 
necting cords from the motors of the 
recording machine and the camera are 
brought to a common plug and this 
plug connected with the electrical out- 
let. When the switch is thrown, both 
motors start immediately, providing 
approximate synchronization. 

Due to the fact that the camera mo- 
tor is identical with the projecting 
motor and due to the fact that the 
recording motor is the reproducing 
motor, you will automatically secure 
synchronization which will be quite 
satisfactory. It is only necessary to 
provide the starting points, and syn- 
chronization will present little diffi- 


A new series of 16 mm. travel pictures 


In Longer Lengths 


1001— Mexican Oil Fields 300 ft. $19.00 

1002— Samoa— Coco-nuts and Copra 300 ft. 19.00 

1003— Rubbering in Selangor 300 ft. 19.00 

1004— Farmers of Formosa 350 ft. 22.00 

1005— In Old Granada 350 ft. 22.00 

1006— Toledo and Segovia 350 ft. 22.00 

1007— Tagalog Toilers 350 ft. 22.00 

1008— The Snow-Bound Pyrenees 350 ft. 22.00 

1009— Fire Walkers of Beqa 350 ft. 22.00 

1010— Cane Fields of Calamba 400 ft. 25.00 

On metal reels in cans and in tlie familiar 
blue cartons 


Also eighty-two 100 ft. 16 mm. 



7510 North Ashland Avenue Chicago, 111., U.SA. 


WHY should you use fade-in 
fade-out? BECAUSE it 
smooths out your pictures, is 
very pleasing to the eye, creates 
apparent continuity. 
WHY should you use effect 
filters? BECAUSE they give 
variety, beauty, individuality, 
to even the most ordinary shots. 


ground for double printed title. 
smoke scenes from clear dayliglit. 

> perfect fog. 






scenes taken in daytime. Sunset used for 
"C" Yellow A 1-2-3. Color factors Pan. I'/it. 3x. 4l/!X. 
Ortho. !. 6 and 8x. $3.50 

SCHEIBE DIFFUSING IRIS: Has clear-glass center cir- 
cle for main object or close-up in sharp detail, leaving balance 
of scene diffused. $5.00 

SCHEIBE WHITE IRIS : Clear glass center vignetting to 
white glass edges. For spotlight effect to accentuate point of 
interest. $5.00 

SCHEIBE GRADUATED IRIS: Spotlight effect vignetting 
to black at edges. For forceful positive accentuation. $5.00 
glass, four degrees of density. $12.50 

MONOTONE FILTERS for Ortho., $3.50, for Pan.. $5.00 
NOTE: D.Uused and Fog Pikers come in /our degrees o/ dens- 
ity. Ratio of '/i, 1. 2. 3. The 1 and 2 are recommended for 

pLAMPS in a 
^^ over any len 

nient positif 

eating the 
used al 

instant without tools 
on any camera in any 
. Fade release operated 

coordination with the 
remely easy, yet dupli- 




Sole distributors for Scheibe and Ramstein Fillers to fit Dissolve and Filler Holde 


lATir iirrP«nDir< fAiiPANy 



ou describe it--We*ll design it 

106 WEST 461" ST., N.XC 


I«I/%RCH I92<<> 

Developing— Printing 

16 mm. Negative 
Individual attention to every film 

Home Movie Service Go. 

2128 Cathedral Ave. Norwood, Ohio 

/ ^ 


in your pictures 

/^LOUD effects . . . costiunes . . . 
^ backgrounds . . . take on a richer 
quality when Cin^-Kodak Panchro- 
matic Film and color filters are 
used. For Cine -Kodak Panchro- 
matic Film records more accurately, 
in black and white, the varying col- 
ors in your subjects, and adds new- 
realism, new interest and new 
beauty to your films. 

Here you will always find a fresh 
stock of "Pan" film and the neces- 
sary filter for your own home movie 
camera. Come in and let us tell you 
more about Panchromatic results. 

Incidentally, while you're here see 

a demonstration of Kodacolor 

home movies in full, natural 
colors— at either store. 

Eastman Kodak Stores, Inc. 

The Kodak Corner— Madison at 45th 
235 West 23rd, near 7th Ave. 
New York City 

In reproducing this type of record- 
ing, it is necessary to provide an elec- 
trical pickup for the record. Such 
pickups can be secured for use on 
these dictating machines. However, 
it is also possible for an experienced 
radio experimenter to adapt one of 
the usual pickups to be found in radio 
stores. These are made for "lateral" 
cut records, that is the needle vibrates 
from side to side of the groove. The 
dictating records are "hill and dale," 
the movement being in a vertical 
plane. Therefore, to provide for this 
action in the usual pickup, a small 
"L" shaped rod of pointed steel is in- 
serted into tlie pickup chuck instead 
of the ordinary needle, and soldered 
there. After this, the pickup must be 
supported on its side in the position 
which will provide a lateral swing to 
the vibrating member, since the pick- 
up in this position will receive an im- 
pulse equivalent to the vertical vibra- 
tion. It must also be placed at such 
a height that the needle will bear upon 
the record with just the right amount 
of tension. 

Last but not least, the dictating ma- 
chine record lasts for about six min- 
utes. As you may start and stop cam- 
era and recorder at will without losing 
synchronization, it is possible by this 
method to make complete synchroni- 
zations for 100-foot spools of film. 

The experiments leading up to this 
development were conducted by Jack- 
son 0. Kleber and James Frank, 
acoustic engineers actively engaged in 
professional sound reproduction and 
theatrical sound reproduction in- 
stallations, Karl A. Barleben, Jr., 
A.R.P.S, of the staff of American 
Photography and the writer. 


(Continued from page 159) 

Production Records 

AT the annual business meeting of 
the Portland Cine Club, Port- 
land, Oregon, funds were set aside for 
tlie production of a 400 ft., 16 mm., 
film story that will be filmed this 
month. The primary aim of the first 
production, the story of which will 
be announced later, will be to give the 
members experience in this type of 
movie making. A carefully planned 
production schedule will be followed 
in detail and a complete production 
history will be filed for future refer- 
ence. Questionnaires have been sent 
members to discover what phase of 
production most interests each. 

On the board of directors for this 
year are: C. K. Warrens, Dr. John H. 
Fitzgibbons, Merriman H. Holtz, R. 
W. Johnson and Ray La Fever. 

Texas Club 

A MEETING of amateurs of Ama- 
**• rillo. Texas, recently initiated 
the Movie Makers Club of Amarillo. 
A constitution has been adopted and 
plans for this year outlined. Photo- 
play production is contemplated and 
committees have been appointed to 
work out local possibilities for scen- 
ario material and locations. Officers 
selected were: W. B. Stevenson, pres- 
ident: T. M. Caldwell, vice-president 
and Clyde Allard, searetary-treasurer. 


This Street Banner Was One of the Publicity Stunts 

which Brought Success to a Public Showing of The 

Fan Male, Produced by Stanford Studios. Stanford 

University, California. 

Stanford Box Office 

/^VER a thousand students packed 
^^ the Stanford University auditor- 
ium at thepremiereof The Fast Male, 
production of the Stanford Studios, 
amateur movie club of Stanford Uni- 
versity. It was necessary to screen the 
film a second night in order to acco- 
modate the students turned away. Gate 
receipts cleared all production ex- 
penses and enabled the club to donate 
a large amount to the Stanford student 
theater project. The advertising cam- 
paign for the premiere was carefully 
planned and included press announce- 
ments, posters, street banners and 
hand bills. Although most amateur 
premieres are well publicized, often 
the amount spent in this effort is en- 
tirely out of proportion to the returns 
and the amateur exhibitor finds that 
his gate does not defray more than the 
expense of the showing. By carefully 
watching the actual money spent in 
publicity, the Stanford Studios have 
been enabled to cover production ex- 
penses and to contribute to a worth- 
while student cause. 

Movie Division 

pROM J. S. Franks, secretary of the 
*• Hawthorne Photographic Club, 
subsidiary of the Hawthorne Club of 
the Western Electric Company in Chi- 
cago, comes the report that this or- 
ganization of still camerists is plan- 
ning to include the amateur movie 
field in its activities. Plans are under 
way to have 16 mm., natural color and 
talking films demonstrated for the 



There are ma^- 


screen models 

ATRUVISION surface is available to 
everyone whatever the requirements 

. . . whatever the taste. . . whatever the purse 
may dictate .... the choicest surface in the 
widest scope of choice. 


Representing the Deluxe of screens. 

Designed to meet ultra-fastidious re- 
quirements as well as to stand hard 
usage. ITS COMPACTNESS is an in- 
novation — snugly rolling up into a self- 
contained fibre case: ITS LIGHTNESS 
is an achievement — being made of spe- 
cially designed and selected parts to 
eliminate bulk and weight; ITS AP- 
PEARANCE speaks for itself— being 
when closed, contained in a small, trim, 
black fibre case with snap and key locks, 
all exposed metal parts being gun- 
metaled, and when open a surface of 
windowpane smoothness, with rigid, neat 
is the personification of simplicity — only 
requiring a quick pull upwards with one 
hand to snap it into position, ready for 
use; — spring tension acts for both open- 
ing and closing, and requires but the 
force of one finger; ITS PERFORM- 
ANCE is second to none — having a spe- 
cial opaque backing of DuPont water- 
proof material which allows no loss of 
1-C— 22" X 30"— ( 71/2 lbs.) $17.50 

2-C— 30" X 40"— (IOV2 lbs.) 25.00 

3-C— 39" X 52"— (13Vi lbs.) 35.00 


Representing the least bulk of any port- 
able screen. A neat cylindrical fibre 
case, (only five pounds complete) 
hooked or hung to the wall, the screen 
surface pulling out and down like a 
window shade. Action is smooth, screen 
surface hangs absolutely flat — no "cup- 
ping" at edges, no wrinkles, no bulges, 
no creases. Special DuPont opaque 
backing. Specially designed transporta- 
tion-proof roller mounting which can- 
not dislodge. 

22" X 30" 17.50 

30" X 40" 25.00 

39"x52" $12.50 

TRUVISION portable models are constructed 
and finished with the same exacting specifica- 
tions of engineering, design, efficiency and mate- 
rials as your camera and projector. . . . 


but only oni= = 



The Truvision Surface is made in 
standard sizes in permanent standing 
frame. Special sizes for home, church, 
school and club are made on order, 
in frames or permanently hung or on 
rollers up to the largest theater sizes. 


Representing rugged all-metal construc- 
tion, the same Truvision surface, at 
prices lower than other beaded screens. 

The transportation-proof roller mount- 
ing is also built into the Type B. Like- 
wise the special patented snap lock and 
release that makes the B and C the 
quickest and easiest "lifting" screens to 
operate. Cases now finished only in 
black crystalline, metal parts black 
lacquered. Oversize roller spring for 
easy and sure operation. 

1-B— 22" X 30" $15.00 

2-B— 30" X 40" 20.00 

3-B— 39"x 52" 30.00 

Ween surface 

IM/%ICCH 1929 


YOUR films may be tastefully planned, 
and beautifully photographed. Yet 
still they may lack professional finish. 
Perhaps one vital element is being slighted 
—your titles. HANDLETTERED 
TITLES that are in tempo with the latest 
trends in professional pictures — HAND- 
LETTERED TITLES that are distinctive 
and above the commonplace— will make 
an almost immeasurable difference. Such 
titles I can give to all of your films — yet 
at no higher cost. Art titles, comic 
sketches, too. And an editing service that 
you will find exceptional. 

Write Today for Samples and Prices 

P. Ingemann Sekaer 

1472 Broadway, New York 


News Reel Laboratory 

1707 Sansom St., Phila., Pa. 

Exclusively 16 mm. Developing, Print- 
ing, Titling, Editing, Rush Service. 
Cameramen Available for All Occasions— In- 
dustrial and Medical Production 





Is Now Available For Amateurs! 

T^HIS stupendous and soul-thrilling 

spectacle of religious beauty has been 

made into a picture for the home^ — -to be 

used on any 16 mm. projector. It is truly 

a wonderful piece of work— a filmization 

as near an exact reproduction of the 

original Oberammergau play as possible. 

■citing, inspiring, educational. Especiaily appTi 

prtatc foj Lenten activities. 

3 reels — approx. 1300 ft. 

$75 (complete) 


5 Isabella Street, Boston, Mass. 


Send us a trial order — you will be delighted 
Titles 3c per word; minimum 24c each. 


853 N. Eutaw St. Baltimore. Md. 

Pasadena's world famous parade of flowers 
passes before the camera. 

100 ft. 16 mm. Price $6.00 
The Bi« Woods, Lonf Lake and a ride on 
Lake George. 

100 ft. 16 mm. Price $6.00 
A cruise through Nature's most alluring water- 

100 ft. 16 mm. Price $6.00 



Contained in attractive case, Price $2.00. 

Produced by 


165 E. 191st Street Cleveland, Ohio 

Program Stunts 

T7IFTY members attended the last 
*■ meeting of the Satellites, amateur 
movie club in Brooklyn, N. Y. In- 
cluded in the program was the screen- 
ing of various trick films prepared in 
advance of the meeting. For example, 
fast laboratory processing was imi- 
tated when Murray London, the first 
speaker on the program, was filmed 
wiUi a camera in reality empty, and 
five minutes later the film of the event, 
supposedly developed and printed in 
the meantime, was screened. Projec- 
tion of The Soul Thief concluded the 
program. The Satellites announce 
that no change in officers will be made 
this year and that several scenarios 
are under consideration for their next 

High School Plans 

OTUDENTS of the High School in 
Upper Montclair, N. J., have made 
plans for the production of a photo- 
play to run 800 ft., 16mm., depicting 
student life. The plot of the story to 
be placed in production this month is 
built about the rivalry of two high 
school students and various high 
school activities are woven in as a 
background. Melvin Crook is presi- 
dent of the new organization and will 
act as cameraman for the first picture. 
Other production committee heads 
are: Walter Gallup, scenario; Geof- 
frey Berrien, casting; Paul Tucker, 
lights and William Wallace, proper- 
ties. Harold Augustine, dramatic in- 
structor, will have charge of direc- 

Crook Film 

CAMERA work on At Your Service, 
current production of the Flower 
City Amateur Movie Club in Roches- 
ter N. Y., is progressing, reports 
Frank J. Buehlman. The picture, run- 
ning 400 ft., 16 mm., tells an ingeni- 
ous crook tale and includes special 
lighting effects and experimental cam- 
era work. 

A short comedy has been filmed to 
be screened with Freshman Days, the 
club's last production which will have 
its first showing early this month. 

City Producers 

A LATE meeting of a group of ama- 
teurs in New York City has 
brought the Amateur Screen Players 
Guild into being. Screen tests of 
makeup and lighting effects have al- 
ready been made and the new group 
plans to continue such experimental 
filming until every phase of produc- 
tion has been covered. Officers of the 
new club are: Saul Lasky, president; 
Julian Wolfenstein, vice-president; 

Mrs. Maurice Bretsfield, secretary and 
Stewart Arnold, treasurer. Produc- 
tion officers will be selected at the 
next meeting. New members, inter- 
ested in any department of amateur 
photoplay production, will be wel- 
come and anyone interested in join- 
ing the club can get in touch with it 
through the League's Club Consultant. 


A ND HOW was screened at a re- 
** cent meeting of the Birmingham 
Amateur Movie Association in Bir- 
mingham, Alabama. Cameraman and 
director have finished work on the 
club's current production. The 
World, the Flesh and Mercedes and 
titles are now being made. 

<I_An article featuring the production 
of Trobriana, filmed by the Fineart 
Films, amateur group in Sydney, Aus- 
tralia, appeared in a recent issue of 
The Sydney Mail, an important Aus- 
tralian weekly. 

^LProjection of The Norfolk Case was 
on a recent program of Foto-Cine Pro- 
ductions in Stockton, Calif. Alice 
Arbuckle, secretary of the club, writes 
that a prologue is being prepared for 
the premiere of Three Episodes, (he 
club's current effort. 

Cln Lansdowne, Pa., The Lansdowne 
High School Amateur Movie Club 
lately screened The Norfolk Case and 
now plans to view other amateur pro- 
ductions before undertaking its first 
film story. 

CAmateur movie club formation is 
being undertaken in Detroit by James 
M. Constable; in Portland, Maine, by 
P. I. Milliken; in Spokane, Wash., 
by John W. Cadigan and in Ridge- 
wood, N. J., Norman V. Merrill has 
held a meeting, preliminary to the for- 
mation of an amateur production unit. 

Address Needed 

npHE League's Photoplay con- 
-'- sultant is in receipt of a re- 
quest blank calling for informa- 
tion on the production of a scen- 
ario film descriptive of "Ranch 
Camp in B. C. — Trail Trips — 
Other Camp Activities." Other 
information is also requested in 
this blank. Unfortunately, the 
member concerned did not give 
his name or address and used 
one of the League's self ad- 
dressed envelopes, making trac- 
ing at headquarters impossible. 
This member is requested to 
send his name to the Photoplay 
Consultant of the Amateur Cin- 
ema League in order that he 
may receive the information de- 



London Film Guild 

PROJECTION, production and ex- 
periment are announced as the 
purposes of the Fihn Guild of 
London, founded by H. P. J. Marshall, 
who is now the Hon. Secretary of the 
association. Fortnightly meetings are 
held at which amateur and profession- 
al experimental films are screened. 
The Guild's first production will be 
titled Panic and will be taken on 35 
mm. film. Peter Godfrey will direct; 
the scenario will be written by the 
scenario section of the Guild and set- 
tings will be designed by the art sec- 
tion. Aid is extended by the Guild to 
other London amateur production 

Among the films recently screened 
by the Guild are: The Wizard of Al- 
derly Edge, produced by the Manches- 
ter Film Society; La Petite Lili, shot 
by Alberto Cavalcanti; The Experi- 
ment, A. C. A. production, and Peo- 
ple of the Axe, filmed by Ronald Gow. 

New A.C.A. Films 

npHE Amateur Cinematographers 
■*■ Association announces through its 
publication. Amateur Films, four re- 
cent productions: Sally Sallies Forth, 
directed by Miss F. Lascot and filmed 
by Mrs. L Low; The Sack, production 
of T. J. Wilson, secretary of the A. C. 
A.; The Last Refrain, directed by F. 
N. Andrews and filmed by H. C. Rei- 
gate, and Forty-nine, directed by G. 
H. Sewell and filmed by R. B. Miller. 
Sally Sallies Forth has the unusual 
distinction of being the product of 
ladies from start to finish. Amateur 
Films reports that "idea, story, scen- 
ario, shooting, titling and editing have 
all been accomplished without even 
the shadow of a male falling across 
the set. We can't find that even Amer- 
ica has done this before." Right! 

Late programs of the Sheffield 
Branch of the A. C. A. were devoted 
to screening members' films, demon- 
strations of new amateur equipment 
and screen tests of members who will 
take part in the club's forthcoming 

On a Large Scale 

pLANS for the 1929 production of 
^ the Manchester Film Society, the 
title of which is not yet announced, 
call for the use of Belle Vue Gardens, 
a large anuisement park in Manches- 
ter, as the setting. The crowds, the 
moving equipment of the park and 
the fireworks will be used as a back- 
ground for a melodrama dealing with 
tlie rivalry of two keepers in the park 












Formula of Dr. Rudolph 
The lens for all around work — for high speeds, for 
low speeds,' for use at full opening, for use at 
smallest stops. And it is a PLASMAT — which 
means — fuller corrections for color for all photog- 
raphy. A great co-worker for Panchromatic, and 
its fuller correction for the colors of the spectrum 
are utilized entirely with 


Correctoscope fits into place right on your camera. 
For CORRECT FOCUS— no more scales and 
measurements: for CORRECT EXPOSURE— no 
more guess work. 

Price: Complete with special F:1.9 focusing 
CORRECTOSCOPE lens $37.50. 

For telephoto effects this complete range of 3 focal 
lengths meets all your requirements at little more 
than the price of one single lens. The set consists 
of: Complete lens i'/z" focus; Rear element 4%" 
focus; Front element 6" focus. Price: Complete 


105 WEST 40th ST., NEW YORK 

Works: (loerlitz, Germany 


JM/%RCH 1929 

An Evening 


Motion-Picture Films 

for home entertainment 

until March 31st 

You may select any 10 Reels of 60 ft. eacfi from 
the latest list of Pathex 9 mm. Library Filtns for 


We will ship these 10 Reels prepaid to any part 
of the United States. 


nd Projector Outfit specially 



Equal to six ordinary Pathex reels of 60 fl. 
length. Easy to attach — no tools required. Price 


Controls motor and lamp which prevents warping 
of films. Price (with lamp) 


ffrite for latest list of Pathex Films and 

H6 H^ST 42nd Jtreet,A'ewK)RK 


Have Your 

Edited by Experts 

"\/^OUR iiiolion pictures are a 
living record of your winter 
travels. In years to come they 
will recall the interesting 
places visited, the friendships 
made, the good times enjoyed. 
Careful editing and ap- 
propriate titling of these pic- 
tures will make them more 
enjoyable now, and doubly 
appreciated as time goes on. 
With a properly titled picture 
there will be no striving to 
remember places or persons; 
you and your friends can 
watch the whole trip unfold 
without the necessity of dis- 
tracting explanations or des- 

The cost of editing and 
titling is reasonable. We will 
gladly give you an estimate. 


Editing and Titling Service, 


Room 917 350 Madison Ave., 

New York 


For Amateurs and Dealers 

Library Progress 

THE very recent appearance on 
the amateur market of low- 
priced projectors has brought 
tlie cost of purchase and rental library 
films much to the fore. Within the 
last half year, various libraries have 
been making new arrangements to 
offer their products to the ultimate 
consumer at the lowest price possible, 
considering the existing cost of raw 
film, processing and royalties. 

Number 7, Volume III, of the Wil- 
loughby Rental Library Bulletin, lists 
a sizeable addition to the previous 
Willoughby offerings 

The Willoughby Rental Library op- 
erates on the coupon book basis, with 
the 400 foot reel as the price unit. 
Offerings run from one to eight reels, 
the average being over two reels. Cou- 
pon books run from five to fifty-two 
coupons, each coupon being good for 
three reels, with another coupon sys- 
tem covering the super-features. Dif- 
ferent prices prevail for week nights 
and for holiday and week-end nights. 
Patrons must call for and deliver their 
own films and must return their with- 
drawals by noon of the day following 
the rental. Films are not rented with- 
out coupons. Price variations are from 
fifty-eight cents for one 400 ft. reel 
on the fifty-two coupon, non-feature, 
week-day, rate-book basis to $5.00 for 
one super-feature, eight-reel subject 
on the five-coupon feature, week-end 
rate-book basis. Translated into terms 
of entertainment hours this means that 
a patron can, on week-nights, secure 
two hours of continuous projection for 
$4.64, using none of the super-feature 
offerings, and for $1.73, by using su- 
per-features. These figures are based 
on the fifty-two coupon book. It is 
possibly to vary the program with fea- 
tures and one and two reelers com- 
bined at a price between the two 

Libraries eager to capture the new 
low-priced projector market for prints 
will be on the alert to invent new mer- 
chandizing methods. Until basic raw 
stock and processing costs are reduced 
— and there seems no present indica- 
tion of such reductions — little can be 
expected in the way of cheaper print 
production. The answer must come 
from merchandising methods of which 
the Willoughby plan is a type. MoviE 
Makers believes that amateur re- 
sponse to library inventiveness in this 
direction will be immediate and gen- 

New Enlarger 

IN response to a growing demand for 
a convenient means of enlarging 
single frames of 16 mm., the Bell 
and Howell Co. now offers a device 
for this purpose which may be used 
in conjunction with its Filmo pro- 
jector. The enlarger consists of a 
tapered box at the small end of which 
is a fixed-focus enlarging lens. This 
takes the place of the regular projec- 
tion lens which is removed when the 
enlarging device is attached. A film 
pack adapter is supplied, which is 

loaded with a 2^,4-in. x 3i/4-in. film 
pack, and slipped into place in the 
device. By raising a hinged cover 
on the top of the box, the picture may 
be viewed as projected on the white 
slide of the film pack. When a scene 
appears from which an enlargement 
is desired, tlie projector is stopped so 
that the required frame appears on the 
slide. The shutter provided with the 
device is then closed, the cover re- 
placed, the film pack slide removed, 
and a correctly timed exposure made 
by pressing the shutter release. The 
enlarged negative is developed in the 
usual way, and prints made. If a 
larger picture is desired, the negative 
itself may be re-enlarged. 

The adaptation of Kodacolor to the 
Bell and Howell camera and pro- 
jector has proven extremely popular, 
it is reported. In fact, the new 250 
watt projector has been praised for 
its projection of Kodacolor to such an 
extent that some of its other features 
have been less emphatically noticed. 
For instance, the optical efficiency 
which gives good color projection also 
helps greatly in the projection of 
dense films. Workers in Kodacolor 
with the Filmo camera and the / 1.9 
or / 1.5 lens are also said to find it 
thoroughly satisfactory. In order to 
eliminate the possibility of failure 
through incorrect exposure in connec- 
tion with color work, the Bell and 
Howell Company is now recommend- 
ing the Dremophot, an exposure meter 
made by the Drem Products Corpn. 


Movies and Insurance 

ANEW YORK insurance brokei 
was having difficulty in persuad- 
ing underwriters to insure railroad 
properties in Central America. These 
underwriters, never having been in 
Central America, were loath to sub- 
scribe to the risks without seeing the 
properties. The broker invested in a 
Cine Kodak movie outfit and within a 
short time was reproducing the prop- 
erties on film. Returning to New \ ork 
he set up a screen in the insurance of- 
fice and the result justified his enter- 
prise, as he was able to insure the 
railroad. — Wall Street Journal. 

Simplified Projector 

PUBLIC interest in the 16 mm. field 
will no doubt be extended by the 
introduction of lower priced hand- 
driven projectors such as the Q. R. S. 
Co. has now placed on the market and 
for which it claims ease of operation, 
good projection, the reliability of sim- 
plicity and compactness. A prac- 
tical demonstration of this projector 
substantiates these claims. The ma- 
chine is easily set up and the difficul- 
ties of threading are reduced to a min- 
imum. The light-and-lens system is 
very efficient, a special condenser 
being used which concentrates all 
the available light at the aperature 
through a 45-degree mirror, leaving 
the threading mechanism clear. The 
complete projector comes in a small, 
compact carrying case and is pro- 
vided with two 400-foot reels, attach- 
ment cord and switch. This projectoi 
is not only a logical addition to the 
Q. R. S. line, for which a low-priced 
"still" projector was also recently an- 
nounced, but shows a definite desire 
on the part of the manufacturer to 
popularize the use of 16 mm. library 

Portable Bead Screen 

THERE is announced this month the 
opening of the New York branch 
office of the Arrow Screen Company, 
manufacturers of the well-known Ar- 
row Bead Screen. These screens pos- 
sess a brilliant glass bead reflecting 
surface, are portable, and may be had 
in a wide range of sizes. The New 
York office is located at 311 Fifth Ave- 
nue, New York Citv, and is in charge 
of Mr. H. S. Millar. 


IN the December issue of Movie 
Makers, a Pathegram, The War 
Machine was, through error, adver- 
tised at S6, whereas the correct price 
for this 200 foot reel is $12. Correc- 
tion is hereby made and notice given 
by Pathegrams, 35 West 45th Street. 
New York, N. Y., that, after March 1. 
1929, this Pathegram cannot be fur- 
nished at the price of $6. 

NEW Reflector Finish in FOTOLITE 

adds almost 40% more 

Fotolitc's steady, powerful light enables you to 
take perfect picturea right in your own home — 
even on dar\. winter days and at night. The 
scenes you have longed to take — the children at 
play, parties, dances, family events — can be 
stored away in films that you will want to look 
at over and over again; films, too, that you will 
prize for their sheer beauty. 

Fotolites have no equal for compactness, sim- 
plicity and light power. They eliminate sputter- 
ings, sparks and '"light fright." Fotolites give all 
the brilliance of an arc lamp and also the con- 
venience of the incandescent Fotolite. There are 
models for every need. 

Q O 

No. 5B— Double 

Because of the excep- 
tional brilliance and 
clarity of its light. 
No. 10 haa no equal 

terior lighting for 
movie making. It can 
be folded into a 24- 
inch space, can be 
carried anywhere in a 
room and plugged in 
on any electric light 
socket — ready for 
use in an instant. 

Experts acclaim this amazing new 1,000-wa// Fotolite as the most 
powerful iamp of its type ever produced. 

No. 10 Fotolite with auxiliary single or double set of No. 5 Fotolite 
is ideal for every home movie shot. 

No. 10 Fotolite, complete, no bulb $22.00 

No. 5B Fotolite, single, complete, no bulb 12.00 

No. 5B Fotolite, double, complete, no bulb 20.00 

Ask Your Dealer for Demonstration of 


Most Light for Current Expended 

Manu/acrured and Guaranteed by 


The ultra rapid speed Cine- 
Velostigmat/1. 5 permits pic- 
tures to be made in the woods, 
of a hall, hospital, theatre, 
banquet hall .... anywhere, 
in making double and 
•-speed exposures, this 
needed if properly 

For fitting to Filmo 
write direct to Bell 

timed negatires are desired. 
The Cine-Velostigmat is made 
in mountings to fit Filmo 70 
and 75, Victor, Eyemo, Cine- 
Kodak Model B/l'.9and other 
16 mm. and 35 mm. movie 
cameras. Corrected for Ko- 

Cameras for Kodacolor 
& Howell Co., Chicago. 

01»TMC.%C CO. 

982 Hudson Ave. 
Rochester, N.Y. 

Exchange Your 16 MM. 

Library Films 

400 ft. of Film for $2.50 

Send any good usable film to us and re- 
ceive an equally good or better one of 
the same length in exchange. Include 
a list of all your pictures so you will not 
receive a duplicate. Indicate your pref- 
erence: Comedy, Drama, or Educational. 
Enclose $2.50 check or money order for 
each 400 ft. reel plus 25 cents for post- 
age. The usual charge of one dollar is 
still being made for 100 ft. lengths. 


702 Ckurch St.. 

Evanston. III. 


Thi Teiul Neu' Li/e Paunud Process 
Will Save Then. 



4 Miniature Professional 



See Advertisement 
on pages 142 and 143 


Complete with carrying case 



Complimentary Membership in Gillette 

Film Rental Library with 

each machine. 

Demonstrated and sold by 

Gillette Camera Stores, Inc. 

Write for Descriptive Circular 

Attention of our readers is called to the fact that in 
the first copies printed of this issue of Movie Mak- 
ers an error occurred in the advertised price list of 
Type H Truvision Screens on page 191. The correct 
prices are: 22- x 30"— $12.50: 30- x 40"— $17.50: 
39" X 52"— $25.00. Notice is hereby given by the 
Truvision Projection Screen Corp. that these screens 
can only be furnished at the correct prices. 


The New Color Process 

A .NUMBER of inquiries having 
■^^ reached this department concern- 
ing ^ itacolor. which is announced as 
ready in this issue of MoviE Makers, 
our readers may be interested in a re- 
cent communication on this subject 
from a prominent motion picture tech- 
nician of Hollywood. 

This expert, having attended a re- 
cent demonstration of Vitacolor, said 
in part, ''I do not hesitate to state that 
Mr. Du Pont has realized a remark- 
able achievement. First of all, the 
extreme simplicity of the process is 
of great importance to the amateur, 
who will have no difficulty in obtain- 
ing most gratifying results. This is 
simple, even for one who has used 
a motion picture camera only a short 
time. As to these results, I observed 
remarkable shading and truthfulness 
of coloring even when back or side 
lighting was used to give depth to the 

"Although I did not see any of the 
subjects while being photographed. 1 
felt constantly that the color rendi- 
tions were truthful. For instance, some 
very subtle gradations in flesh tints, 
such as the difference between a sun- 
burned and naturally tinted portion 
of the skin of an arm, convinced me 
that the color reproduction was re- 
markable. Shades of hair, as black, 
brown, auburn or blonde, were clearly 
established, as well as the delicate 
tints of flowers." 

Walter Jay Lynch 

WORD has come to this depart- 
ment that Mr. Walter Jay Lynch, 
Middle Western Sales Representative 
of the Victor Animatograph Com- 
pany, has temporarily suspended 
work in the cinematic field, on account 
of illness suffered during the recent 
influenza epidemic, and is now resting 
until fully restored to health before 
resuming activity in the industry. 

For Indoor Movies 

nPHIS department has recently had 
■*■ the opportunity of testing the new 
Northeast Movielite. which consists of 
a collapsible stand, 12-foot cord, 
switch and aluminum reflector with 
mogul socket for 1000 watt incandes- 
cent lamp. The reflector is provided 
with a handle by means of which it 
may be held by hand, or attached to 
the stand and made to assume a 
straight or tilted position by virtue of 
a ball-and-socket joint. This lamp is 
made by the Northwest Products Co., 
Tewkesbury. Mass., and is sold for 
$15.00 complete, including reflector, 
stand and carrying case, but not the 
lamp. A deduction of S2.50 is made 
if the stand is not wanted. The unit 
is rugged and very compact. 

I1I/%RCH 1929 

A nniversary 

p\R. Paul Rudolph, of Gros-Bies- 
■■--' nitz, Germany, world famous in- 
ventor of lenses, celebrated his seven- 
tieth birthday on November 14th, last, 
and Movie Makers joins in the inter- 
national felicitations which have 
marked this anniversary. Among Dr. 
Rudolph's recent developments are 
the remarkable Plasmat Lenses, dis- 
tributed in America by Hugo Meyer 
& Co., latest of the series being the 
/ 1.5, a scientific achievement. In 
spite of his three score and ten years 
this pioneer is still active in his lab- 
oratory every day and judging from 
his erect bearing and tireless energy 
many more discoveries may be ex- 
pected from his remarkable brain. 

New Reflector 
TLLUSTRATIVE of the constant 
■'■ trend of the amateur towards pro- 
fessional results is the development 
of a new swivel and telescopic mir- 
ror and reflector. The device consists 
of a substantial nickeled frame hold- 
ing a glass mirror on one side and an 
aluminum reflector on the other. These 
are supported by a heavy stand, which 
permits tilting and swivelling the re- 
flecting surfaces in various directions, 
the height being variable from thirty 
inches to over fifty inches. This de- 
\ ice is called the Sawco Swivel and 
Telescopic Mirror and Reflector, and 
is marketed by the Stumpp and Wal- 
ter Co., 30 Barclay St.. New York 

Broadening Out 

PRODUCTION of Lost and Found, 
^ a unique novelty film, has just been 
completed by Travel Movie Films, 
Inc., for theatrical release, marking a 
new activity for this company, the 
major nature of whose work is sug- 
gested by its name. This story cen- 
ters about the adventures of a dia- 
mond ring and is told entirely in 
closeups, a distinctly cinematic treat- 

Jean A. Le Roy 

TNTEREST in the tribute paid to 
•^ Jean A. Le Roy, inventor of the 
motion picture projector, in February 
Movie Makers has occasioned many 
letters of inquiry and sympathy for 
this invalided veteran. We have also 
received a letter from Mr. Le Roy in 
which he pointed out that the date of 
the first motion picture projection, 
February 4th. 1894, should have been 
recorded as Februarv 5th, 1894, and 
he added that this day was also his 
birthday, and that the anniversary is 
therefore a dual one. the thirty-fifth 
for projection and his own seventy- 

[ /« 14 E R » 

Oswald With Q. R. S. 

JOINING the Q. R. S. Company as 
Eastern Sales Representative on 
Feb. 1st, Carl L. Oswald takes with 
him to his new association a wide 
friendship in the photographic indus- 
try. Movie Makers is glad of the op- 
portunity to extend its congratulations 
both to Mr. Oswald and the Q. R. S. 
Company. Mr. Oswald's career has, 
from its inception, been closely re- 
lated to photography. He was the first 
student of the late Professor E. J. Wall 
when he took charge of the School of 
Photography presented to Syracuse 
University by Mr. Marion of the Vita- 
graph Co. Later he became associ- 
ated with Bausch & Lomb Optical Co. 
as its Washington representative. 
During the War Mr. Oswald served as 
an officer in the Naval Reserve Flying 
Corps, his photographic knowledge 
being utilized in this service. Follow- 
ing the War he returned to the Bausch 
& Lomb Optical Company, with head- 
quarters in New York. Later he en- 
tered motion picture production inde- 
pendently making and distributing 
educational and industrial pictures. 
Mr. Oswald was then for two years 
head of the technical department and 
of technical sales promotion of Agfa 
Products, Inc. His new offices will be 
with the Q. R. S. Company at Walnut 
Avenue and 135th St.. New York, 

Automatic Dissolve Ready 

DELIVERY of the new automatic 
dissolve is announced by Cine- 
matic Accessories Co. The device may 
now be procured from dealers, or by 
addressing the above firm at 106 West 
46th Street, New York City. 

Compact Telephoto 

THE latest product of Jos. Schnei- 
der & Co. is the 4-inch Tele Xenar 
/ 3.8 telephoto lens for 16 mm. movie 
cameras. This lens is the product of 
the noted scientist A. W. Tronnier, of 
the Schneider organization, and it is 
claimed that it retains all the defini- 
tion and brilliancy of the original 
Tele Xenar, long popular for use on 
Graflex cameras. The construction of 
this lens is described as unsymme- 
trical, half cemented, and anastigma- 
tic, consisting of five lenses, three 
in the front and two in the rear, giv- 
ing remarkable freedom from reflexes. 
The bulk of this lens is unusually 
small for a telephoto, the diameter 
being about that of the 25 mm. Xenon 
/ 2 lens, making it particularly desir- 
able to users of turret lens mounts. 
This lens is distributed by Burleigh 
Brooks, 136 Liberty Street, New York 
City, who states that its principal ad- 
vantages are small bulk, distortionless 
qualities, and exceptional speed. 

C. P. GOERZ AMERICAN OPTICAL CO., 319A E. 34th St., N. Y. 


announce the opening of their 

in charge of 

Mr. Harry S. Millar 

A complete stock of Arrow Portable Bead 
Screens will be carried, at this office, for im- 
mediate delivery. Regular discount to deal- 
ers, F. O. B. New York. 

ARROW BEAD SCREEHS are made espe- 
cially for your 16 mm. projector under U. S. 
PatentHo. 1,399,566. 




.VI/%RCH 1929 

An International List of the Dealers who carry this Magazine 


Berkelev: Berkeley Commercial Photo Co., 2515 

Bancroft Wiy. 
Fresno: Potter Drug Co., 1112 Fulton St. 
Hollywood: Fowler Studios, 1108 N. Lillian Way. 

Hollywood Movie Supply Co., 6058 Sunset Blvd. 

Hollywood Music Co., Camera Dept., 6019 Holly- 
wood Blvd. 
Long Beach: Winstead Bros., Inc., 244 Pine St. 
Los Angeles: Eastman Kodak Stores, Inc., 643 S. 

Hill St. 

Roland J. Giroux, 223 W. Third St. 

John R. Gordon, 1129 S. Mariposa Ave. 

T. Iwata Art Store, 256 E. First St. 

Leavitt Cine Picture Co., 3150 Wilshire Blvd. 

Earl V. Lewis Co., 226 W. 4th St. 

Marshutz Optical Co.. 518 W. 6th St. 

B. B. Nichols, 731 S. Hope St. 

Schwabacher-Frey Stationery Co., 754 S. Bdwy. 
Oakland: Davies, 380-14th St. 
P.<sadena: Flag Studio, 59 E. Colorado St. 

F. W. Reed Co., 176 E. Colorado St. 
Pomona: Frasher's, 158 E. Second St. 
Richmond: LaMoine Drug Co., 900 MacDonald 

Rl^ERSlDE: F. W. Twogood, 700 Main St. 
San Diego: Bunnell Photo Shop. 414 E St. 

Eastman Kodak Stores, Inc., 419 Broadway 

Harold E. Lutes, 958 Fifth St. 
San Francisco: Eastman Kodak Stores, Inc., 545 

Market St. 

Hirsch &■ Kaye. 259 Grant Ave. 

Kahn oC Co., 54 Geary St, 

Leavitt Cine Picture Co., 564 Market St. 

San Francisco Camera Exchange, 88 Third St. 

Schwabacher-Frey Stationery Co., 735 Market St. 

Trainer- Parsons Optical Co., 228 Post St. 
San Jose: Webb's Photo Supply Store, 94 S. First 

Santa Ana: Forman-Gilbert Pictures Co., 1428 W. 

Fifth St. 
Santa Barbara: J. Walter Collinge, 8 E. Carrillo. 
Santa Monica: Bertholf Photo Finishing, 1456 

Third St. 
Sierra Maore: F. H. Hartman if Son, 25 N. Bald- 



Denver: Eastman Kodak Stores. Inc., 626-16 St. 
Ford Optical Co., 1029-16 St. 
Haanstad's Camera Shop, 404-16 St. 


Bridgeport: Fritz if Hawley, Inc., 1050 Main St. 

Harvey if Lewis Co., 1148 Main St. 
Greenwich: Gayle A. Foster, 9 Perryridge Rd. 
Hartford: H. F. Dunn Motion Picture Co., 57 

Farmington Ave. 

Harvey 6? Lewis Co., 852 Main St. 

D. G. Stoughton Co., 255 S. Whitney St. 

Watkins Bros., Inc., 241 Asylum St. 
Middletown: F. B. Fountain Co., 483 Main St. 
New Britain: Harvey if Lewis Co., 85 W. Main 

New Haven: Fritz H Hawley, Inc., 816 Chapel St. 

Harvey if Lewis Co., 849 Chapel St. 

Reed Film Corp., 126 Meadow St. 
Sta.vipord: Thamer, Inc., 87 Atlantic St. 
Waierburv: Curtis Art Co., 25-29 W. Main St. 


Wilmington: Butler's, Inc., 415 Market St. 
Frost Bros., DuPont Bldg. 


Washington: Cinema Supply Co., Inc., 804 Elev- 
enth St. 

Columbia Photo Supply Co., Inc., 1424 New York 
Ave., N.W. 

Eastman Kodak Stores, Inc., 607-14th St.. N.W. 
Fuller if d'Albert, Inc., 815-lOth St., N.W. 


Jacksonville: H. if W. B. Drew Co. 

Paramount Cine Service, 206 Hildebrandt Bldg. 
Lake Wales: Morse's Photo Service, Rhodesbilt 

Miami: Miami Photo Supply Co., 36 W. Flagler St. 

Red Cross Pharmacy, 5 1 E. Flagler St. 
St. Petersburg: Barnhill's Camera Shop, 17-3rd 

St., N. 

Robison's Camera Shop, 115-3rd St., N. 

Strand Camera Shop, 9-2nd St., N. 
Tampa: Tampa Photo if Art Supply Co., 709-11 

Twiggs St. 


Atlanta: Eastman Kodak Stores, Inc., 183 Peach- 




:r Co., Idaho at 9th St. 


♦Chicago: Bass Camera Co., 179 W. Madison St. 
Camera Exchange, 26 Quincy St. 
Aimer Coe 6? Co., 78 E. Jackson Blvd. 
Aimer Coe if Co., 18 S. LaSalle St. 
Aimer Coe if Co., 105 N. Wabash Ave. 
Central Camera Co., 112 S. Wabash Ave. 
Eastman Kodak Stores Co., 133 N. Wabash Ave. 
Fair, The, Dept. 93, State, Adams if Dearborn 

Fischer's Camera Serv 

202. 154 E. Erii 


Furniture if Carpet Co., Wabash 
Adams St. 

Ideal Pictures Corp., 26 E. 8th St. 
Illinois Radio Appliance Co., 1426 E. 70th St. 
W. W. Kimball Co., 306 S. Wabash Ave. 
Leonard Lynn Co., 302 S. Wells St. 
Lyon if Healy, Jackson Blvd. if Wabash Ave. 
Post Office News Co., 37 W. Monroe St. 
Seamans. Photo Finisher, 705 2 Jeffery Ave. 
Stanley- Warren Co., 908 Irving Park Blvd. 
Von Lengerke if Antoine, 33 S. Wabash Ave. 
Watry if Heidkamp, 17 W. Randolph St. 

" lines if Essick Co., 122-128 E. Willi; 

Aimer Coe if Co., 1645 Orrington Ave. 

if Sanders, 702 Church St. 

Hartman's Camera Shop, 17 S. Chicago 

Galesburg: Illinois Camera Shop, 84 S. Prairie St. 
Moline: A. D. Webster, 1507 Fifth Ave. 
Rockford: Johnson Photo Shop, 316 E. State St. 
Springfield: Camera Shop. 320 S. 5th St. 
Sterling: Ray Hart, 8-10 E. 4th St. 


Anderson: Reed Drug Co., 37 W. 11th St. 
Evansville: L. E. DeWitt. 618 Main St. 

Smith if Butterfield Co., 310 Main St. 
Fort Wayne: Biechler-Howard Co.. 112 W. Wayne 


Rogers Optical Co.. 824 Calhoun St. 
Frankfort: Pathex Agency. 206 E. Walnut St. 
Indianapolis: L. S. Ayres if Co.. Dept. 290 I. W. 

Washington St. 

H. Lieber Co., 24 W. Washington St. 
South Bend: Ault Camera Shop, 122 S. Main St. 

Ault Camera Shop, 309 S. Michigan St. 


Cedar Rapids: Camera Shop, 220 Third Ave. 
Davenport: Eastman Kodak Stores, Inc., 318 Brady 

Sioux City: Eastman Kodak Stores, Inc., 608 
Pierce St. 
LyTin's Photo Finishing, Inc., 3717 Orleans Ave. 


Topeka: Hall Stationery Co.. 62 3 Kansas Ave. 

Lexington: W. W. Still. 129 W, Short St. 

Louisville: W. D. Gatchel &■ Sons, 451 W. Wal- 
nut St. 
Sutcliffe Co., 225-227 S. 4th Ave. 


Baton Rouge: Ewing. Inc., P. O. Box 950. 

Eastman Kodak Stores, Inc.. 213 

: St. 


Southern Cine Co., Inc., 310 Milam 


Bangor: Francis A. Frawley, 104 Main St. 
•Baltimore: Amateur Movie Service, 853 N. Eutaw 
Eastman Kodak Stores, Inc., 223 Park Ave. 


Boston: Eastman Kodak Stores, Inc., 38 Bromfield 


Eastman Kodak Stores, Inc., Hotel Statler. 

Ralph Harris if Co.. 30 Bromfield St. 

Iver Johnson Sporting Goods Co., 155 Washing- 
ton St. 

Jordan Marsh Co. 

Andrew J. Lloyd Co., 300 Washington St. 

Montgomery- Frost Co., 40 Bromfield St. 

Pathescope Co. of the N. E., Inc., 260 Tremont 


Pinkham if Smith Co.. 15 Bromfield St. 

Solatia M. Tavlor Co.. 56 Bromfield St. 
Braintree: Alves Photo Shop, 349 Washington St. 
Brockton: Raymond C. Lake, 218 Main St. 
Lowell: Donaldson's, 77 Merrimack St. 
New Bedford: J. Arnold Wright, 7 S. 6th St. 
Pittspield: E. J. Curtis, 397 North St. 
Salem: Robb Motion Picture Service. 214'/2 Essex 

Springfield: J. E. Cheney if Staff. Inc.. 301 

Bridge St. 

Harvey if Lewis Co.. 1503 Main St. 
Worcester: J. C. Freeman if Co.. 376 Main St. 

Harvey if Lewis Co., 513 Main St. 

L. B. Wheaton, 368 Main St. 



University Music House, 601-5 *E. 

Bay City Hdw. Co., Sporting Goods 

Dept., 1009-15 Saginaw St. 
♦Detroit: Clark Cine-Service, 2540 Park Ave. 

Detroit Camera Shop, 424 Grand River, W. 

Eastman Kodak Stores, Inc., 1235 Washington 


Fowler if Slater Co., 156 Larned St. 

J. L. Hudson Co., Dept., 290. 

Metropolitan Motion Picture Co., 2310 Cass Ave. 

E. B. Meyrowitz, Inc., 1516 Washington Blvd. 

United Camera Stores, Inc.. 14324 Jefferson 

Ave., E. 
Gr-and Rapids: Camera Shop, Inc., 16 Monroe 

Ave., N.W. 
Jackson: Royal Film Service, 178 Michigan 

Ave., W. 
Lansing: Linn Camera Shop, 109 S. Washington 


Vans Cine Service, 201 American State Bank Bldg. 

{Continued on page 200) 


Classified Advertising 

PRINT your own movie titles, stationery, 
bookplates, Christmas cards, pamphlets, 
linoleum blocks, etc. Complete outfits. 
$8.85; larger, $ll-$29; rotary, $149: print 
for others; easy and interesting: rules sent. 
Write for catalogue presses, type, paper, etc. 
Kelsey Company , X-50. Meriden, Conn. 
FOR SALE BARGAIN— De Vry 35 mm. 
Motion Picture Camera; good condition; 
$55. F. V. Lindsey. Morris Plains, N. J. 
MODEL A KODASCOPE. Recently recon- 
ditioned by E. K. Company, $60.00. '-Filmo" 
1 in. /■3.5. T. H. C. lens in focusing mount, 
$5.00. Fritz and Hawley, 1030 Main St.. 

Bridgeport, Conn. 

BARGAINS in slightly used equipment. 
Bell & Howell Projector; Victor Automatic 
Camera; De Vry Projector. These instru- 
ments in perfect mechanical condition. 
Home Movie Service Co., 2128 Cathedral 

Ave., Norwo od, Ohio. 

FOR SALE— Kodascope Model A— 200 watt 
Projector; perfect condition; $100.00. 
Eugene W. Ragsdale, 95 Lenox Ave.. East 

Orange. N. J. 

USED EYEMO CAMERA: condition like 
new; $180.00 with case. Slightly used De 
Vry 16 mm. projector; $80.00 with carrying 
case. Herbert & Huesgen Co., 18 East 42nd 

St., New York. 

FOR SALE— Model A Kodascope in per- 
fect used condition. A rare buy at $120.00. 
Money back in ten days if not entirely satis- 
factory. Hickok Music Company, Pough- 

keepsie, N. Y. 

FOR SALE — 50-foot model, lea Kinamo 
standard 35 mm. motion picture camera with 
Carl Zeiss lens. Camera and extra magazine 
for $45.00. Outfit guaranteed to be in per- 
fect condition. Irl Gordon. 104 Bittman 

Street, Akron, Ohio. 

MODEL B KODASCOPE. only used a few 
hours, .$200.00; /-1. 9 Dallmeyer lens, new, 
$35.00; 4" Dallmeyer Telephoto. $58.00; 
6" Cook Telephoto with Goerz Reflex finder, 
never used, $110.00: special Laced Screen, 
54"x72", $25.00; few reels of film, 25% to 
50% discount. J. B. Hadaway, Swampscott, 


USED BARGAINS— 1 Model 75 Filmo and 
case, $80.00; 1 Model 70 Filmo and case, 
$97.50; 1 Kodascope B. black finish. 
$200.00; 1 Filmo Projector, regular model, 
$105.00; 1 1" /-1.5 Wollensak for Filmo, 
$37.50; 1 Pathex 9 mm. hand-driven camera 
and projector, $20.00; 1 Sept 35 mm. auto- 
matic movie and still camera, $15.00. 
Willoughbys, 110 West 32nd St., New York . 


CASH for amateur or professional cine 
apparatus. Send full description. Old ap- 
paratus taken in exchange. Bass Camera 
Company, 179 W. Madison St., Chicago. 
WISH TO exchange 800 ft. of Library Film 
for copy of Alaskan Adventures or any other 
good two-reel picture. B. E. Christensen, 
702 Church St., Evanston, 111. 


WANTED — One or two Eyemo Cameras in 
good condition. J. B. Hadaway, Swamp- 
scott, Mass. 

Prnduriufi "TITLES FOR 14 YEARS" for 

ty^tVtP^mirWttlllKt^WBti D. W. GRIFFITH 

^j Sisi^Ss^P'' 


245 "West 56th Street 





and othe 


SpcciaHv Printed 

16mm. TITLES 25c. 


For eight word maximum — Extra, words, 3 cents — Minimum order, $1.00 

HAND LETTERED TITLES with border— up to 12 words 60 cents 

(Extra words, 5 cents— Minimum order, $1.20) 

ART TITLES — Hand Lettering — up to 12 words $1.50 

100 Appropriate Paintings in Pastel to Fit any Title. (Extra words, 5 cents) 




A 100-foot subject showmg complete scenes with titles of the inauguration 
of Herbert Hoover (ready March 6th), $6.00. Every good American should 
have this film in his library. 

The Biic/iJieister Studios have supplied titles for several of Mr. Hoover's films. 


At the bottom of one of the pages 
of this magazine is the explanation 
of the blank below. A careful 
reader will connect the two and 
will act. 

To the Date 


105 West 40th Street, New York City. 
I accept the invitation of the Amateur Cinema League, Inc., 
to become an annual League member. My check for Five 
Dollars payable to Amateur Cinema League, Inc., is enclosed in 
payment for the dues, $2.00 of which is the special member- 
ship rate for a year's subscrption to Movie Makers (Non- 
member rate $3.00; Canadian $3.25; Foreign $3.50.) 

It is understood that immedii 
to all the privileges ol the Le 
duties or obligations connected 
1 may voluntarily assume from 

tely upon my election I 

nderstood that ther 
ship other than tho 


City State.. 

IM/%RCH 1929 

{Continued from page 198) 

Muskegon: Beckquist Photo Supply House. 885 

First St. 

Radium Photo Service, 320 W. Western Ave. 
Saginaw: Hesse's. Genesee at Jefferson. 

Duluth: Eastman Kodak Stores Co., 330 W. Su- 
perior St. 
Minneapolis: Eastman Kodak Stores, Inc.. 112 S. 

Fifth St. 

E. B. Meyrowitz. Inc.. 825 Nicollet Ave. 

Sly Fox Films. 49 S. 9th St. 
Owatonna: B. W. Johnson Gift Shop. 115 W. 

Bridge St. 
St. Paul: Co-operative Photo Supply Co.. 381-3 

Minnesota St. 

Eastman Kodak Stores Co.. 380 Minnesota St. 

E. B. Meyrowitz, Inc., 358 St. Peter St. 

Ray-Bell Films, Inc.. 817 University Ave. 

St. Mane Cigar if News Co.. 96 E. 5th St. 
Winona: Van Vranken Studio. 57 W. Fourth St. 


Kansas Citv: 2. T. Briggs Photographic Supply 

Co.. 916 Grand Ave. 

Z. T. Briggs Photographic Supply Co.. 1006 Main 


Z. T. Briggs Photographic Supply Co.. 21 E. 

11th St. 

Hanley Photo &" Radio Shop. 116 E. 10th St. 
St. Louis: A. S. Aloe Co., 707 Olive St. 

Erker Bros., 608 Olive St. 

Geo. D. Fisher 6? Co.. 915 Locust St. 

Harris Studio. 351 Paul Brown BIdg.. Ninth and 

Olive Sts. 

Hyatt's Supply Co.. 417 N. Broadway. 

M. F. Rudi Drug Co.. 15 at Cass Ave. 
Springfield; Hurlburt Supply Co.. 315 St. Louis 


Omaha: Eastman Kodak Stores. Inc., 419 S. 16 St. 

Atlantic Citv: Eastman Kodak Stores. Inc.. 1735- 

37 Boardwalk. 
Camden: Parrish (f Read. Inc.. 308 Market St. 
East Orange: Edmond J. Farlie. Jr.. 45 N. 19th St. 
Montclair: Edward Madison Co.. 427 Bloomfield 

Newark: Anspach Bros., 838 Broad St. 

L. Bamberger if Co. 

Fireman's Drug Store, Market and Broad. 

SchaeSer Co.. 103 Halsey St. 
Plainfield: Mortimer's. 317 Park Ave. 
Trenton: Barlow's— Music. 130-132 E. State St. 
Union City: Heraco Exchange. Inc., 611 Bergen- 

line Ave. 

Albany: E. S. Baldwin, 32 Maiden Lane. 

F. E. Colwell Co.. 465 Broadway. 
Binghamton: a. S. Bump Co., 180 Washington St. 
Brooklyn: Geo. J. McFadden, Inc.. 202 Flatbush 

BuPFALo: J. F. Adams. Inc., 459 Washington St. 

Buffalo Photo Material Co., 41 Niagara St. 

United Projector &> Film Corp., 228 Franklin St. 

Whinihan Bros, (f Co., Inc., 746 Elmwood Ave. 
Cornino: Ecker Drug Store, 47 E. Market St. 
Glens Falls: M. Lapham's Sons, 2 Rogers Bldg. 
Haverstr.^w: E. H, Vandenburgh, 5 Broadway. 
Ithaca: Henry R. Head, 109 N. Aurora St. 

Treman, King &■ Co., care of Geo. E. Houghton. 
New Rochelle: Ye Little Photo Shoppe, Inc., 457 

Main St. 
New York City: Abercrombie y Fitch. 45th « 

Madison Ave. 

American News and its Subsidiaries. 131 Varick St. 

J. H. Boozer. 173 E. 60th St. 

Brentano's. 1 W. 47th St. 

City Camera Co., 110 W. 42nd St. 

City Radio. 42 Cortlandt St. 

Abe Cohen's Exchange. 113 Park Row. 

Columbus Photo Supply. 146 Columbus Ave. 

• Cullen. 12 Maiden Lane. 
Davega, Inc.. HIE. 42nd St. 
Davega, Inc.. 152 W. 42nd St. 

* Eastman Kodak Stores, Inc., Madison Ave. at 
45th St. 

Eastman Kodak Stores, Inc.. 235 W. 23rd St. 
H. y D. Folsom Arms Co.. 314 Broadway. 
Gall if Lembke, Inc., 7 E. 48th St. 

Frank Garfinkcl. 141 Avenue A. 

• Gillette Camera Stores, Inc., 117 Park Ave. 
Gillette Camera Stores, Inc., 16 Maiden Lane. 
Gloeckner &■ Newby Co., 9 Church St. 

• Herbert W Huesgen Co., 18 E. 42nd St. 
Lowe if Farley, News Stand, Times Bldg. 
Lugene. Inc.. 600 Madison Ave. 

Medo Photo Supply Corp.. 323-325 W. 37th St. 

Meta Photo Supply Co.. 122 Cedar St. 

E. B. Meyrowitz. Inc., 520 Fifth Ave. 

MoguU Bros., 2025 Boston Rd. 

George Murphy, Inc., 57 E. 9th St. 

New York Camera Exchange, 109 Fulton St. 

* Parker and Battersbv. 146 W. 42nd St. 
Pickup tf Brown, 41 E. 41st St. 

Rab Sons. 987 Si-\th Ave. 
C. F. Ray. 296 Fifth Ave. 
Schoenig (f Co.. Inc.. 8 E. 42nd St. 
» Stumpp 6? Walter Co.. 30 Barclay St. 
H. F. Waterman. 63 Park Row. 

* Willoughby Camera Stores, Inc., 110 W. 32nd St. 
Clean: Don Seele Studio, 150 N. Union St. 
Poughkeepsie: Cundy Gift 6? Art Shop, 27 Market 

Rochester: Marks &" Fuller Co.. 36 East Ave. 

A. H. Mogensen, Dept. of Mechanical Engineering. 

University of Rochester. 

Sibley. Lindsay W Curr Co.. Camera Dept. 
Schenectady: J. T. and D. B. Lyon. 2 36 State St. 
Stamfcrd-in-the-Catskills: E. S. Burtis. 
Syracuse: Clark Music Co.. 416-20 So. Salina St. 

Geo. F. Lindemer. 443 S. Salina St. 
Utica: Edwin A. Hahn. Ill Columbia St. 
Watertown: Edson E. Robinson. Inc., 1 11-113 

Washington St. 


Akron: Dutt Drug Co.. 7 E. Exchange St. 

Pockrandt Photo Supply Co.. 16 N. Howard St. 
Canton: Ralph W. Young. 139 S. Cleveland Ave. 
Cincinnati: Ferd Wagner Co.. 113 E. 5th St. 

Fountain News Co., 426 Walnut St. 

Huber Art Co.. 124-7th St.. W. 

John L. Huber Camera Shop. 144 E. 4th St. 

Movie Makers, Inc., 110 W. 8th St. 

L. M. Prince Co., 108 W. 4th St. 
Cleveland: Dodd Co., 652 Huron Rd. 

Eastman Kodak Stores. Inc.. 1126 Euclid Ave. 

Escar Motion Picture Service. Inc., 10008 Car- 
negie Ave. 

Fowler if Slater Co.. 806 Huron Rd. 

Fowler &■ Slater Co.. 347 Euclid Ave. 

Fowler « Slater Co.. 1915 E. 9th St. 

Halle Bros. Co.. 1228 Euclid Ave. 

Home Movies Co.. 1501-7 Superior Ave. 

Lyon if Healy. Inc.. 1226 Huron Rd. at Euclid 

Optical Co., 735 Euclid Ave. 
Stone Film Laboratory, 8807 Hough Ave. 
Columbus: Capitol Camera Co.. 7 E. Gay St. 

Columbus Photo Supply, 62 E. Gay St. 
Dayton: Dayton Camera Shop, 1 Third St., Arcade, 
•Norwood: Home Movie Service Co., 2128 Cathe- 
dral Ave. 
Salem: Butcher's Studio. 178 Jennings Ave. 

Franklin Print, tf Eng. Co.. 226-36 

Movies Corp., 132 S. 15th 


1 St. 

Gross Photo Supply Co., 325 Superior St. 
Lawrence's, 1604 Sylvania Ave. 
Leo MacDonough, 1103 Detroit Ave. 
Youngstown: Fowler 6? Slater Co.. 7 Wick Av 


Oklahoma City: Roach Drug Co., 110 W. K 


Camera Shoppe, 5191/2 Main St.. S. 
I C. Krupnick. 9 E. 6th St. 


Pendleton: Floyd A. Dennis. 

Portland: Eastman Kodak Stores, Inc., 345 Wash- 
ington St. 

J. K. Gill Co., 5th if Stark Sts. 
Lipman Wolfe &■ Co., Kodak Dept., Fifth, Wash- 
ington &■ Adler Sts. 


Allentown: Geo. E. Phillips. 36 N. 6th St. 
Erie: Kelly 6? Green. 116 W. 11th St. 
Harrisburg: Maxwell H. Hite if Son. 422 S. 15th 


James Lett Co.. 225 N. 2nd St. 
Johnstown: F. W. Buchanan. 320 Walnut St. 
Lancaster: Darmstaetter's, 59 N. Queen St. 
Mt. Carmel: Steckers Book Store, 20 N. Oak St 

Eastman Kodak Stores. Inc.. 1020 Chestnut St. 
Jos. C. Ferguson, Jr.. 1804 Chestnut St. 
Strawbridge if Clothier. Market. Eighth if Fil- 
bert Sts. 

John Wanamaker. Dept. 56. 
Williams. Brown if Earle. Inc.. 918 Chestnut St. 

1 Kodak Stores. Inc., 606 Wood 

B. K. Elliott 6? Co.. 126-6th St. 
Joseph Home Co., Magazine Dept. 
Kaufmann's Dept. Store, Dept. 62. Fifth Ave. 
Root's Kamera Exchange. 11 Fifth Ave. Arcade. 
Uading: Alexander Kagen. 641 Penn St. 
Vilkes-Barre: Ralph E. DeWitt, 60 W. Market St. 
Zwicbel-Stenger Sales Co.. 203 S. Main St. 


Jewport: Rugen Typewriter if Kodak Shop, 295-7 

Providence: E. P. Anthony. Inc.. 178 Angell St. 
Chas. S. Bush Co.. 244-246 Weybosset St. 
Starkweather if Williams. Inc.. 47 Exchange PI. 

Chattanooga: Englerth Photo Supply Co.. 722 

Cherry St. 
Memphis: Memphis Photo Supply Co., Hotel Pea' 

body. 86 S. 2nd St. 
Nashville: G. C. Dury 6? Co.. 420 Union St. 


Beaumont: Thames Magnolia Store, 2599 Magnolia 

Dallas: Jamieson Film Laboratories, 2212 Live Oak 

El Paso: Schuhmann Photo Shop. P. O. Box 861 
Fort Worth: Hodges if Co.. 806 Main St. 
Ft. Worth: Chas. G. Lord Optical Co., 704 Main 
Houston: Miller Studio. 1321 Capitol Ave. 

Star Elec. if Eng. Co.. Inc.. 613 Fannin St. 
Paris: R. J. Murphy, So. Side Square 
San Antonio: Fox Co.. 209 Alamo Plaza. 

E. Hertzberg Jewelry Co.. Houston at St. Mary's 



Salt Lake City: Salt Lake Photo Supply Co.. 271 
Main St. 
Shiplers. 144 S. Main St. 




Norfolk: S. Galeski Optical Co., 209 Granby St. 

G. L. Hall Optical Co., 257 Granby St. 
Richmond: S. Galeski Optical Co., 737 E. Main St, 

G. L. Hall Optical Co., 418 E. Grace St. 


Seattle: Anderson Supply Co., Ill Cherry St. 

Eastman Kodak Stores, Inc., 1415-4th Ave. 

Lowman if Hanford Co., 1514-3rd Ave. 

Motion Picture Service, 903 Lloyd Bldg., Sixth 

Ave. and Stewart St. 
Spokane: Joyner Drug Co., Howard if Riverside 

Tacoma: Shaw Supply Co., Inc. 

E. W. Stewart if Co.. 939 Commerce St. 
Yakima: Bradbury Co., 19 S. Second St. 

Wheeling: Twelfth St. Garage, 81-12th St. 


Eau Claire: Davis Photo Art Co. 
Fond du Lac: Huber Bros.. 36 S. Main St. 
Green Bay: Bethe Photo Service. 125 Main St. 
Madison: Photoart House. 212 State St. 
Milwaukee: Boston Store, Wisconsin Ave. if 4th 


Eastman Kodak Stores. Inc.. 427 Milwaukee St. 

Gimbel Bros.. Kodak Dept.. Wisconsin Ave. if 

W. Water St. 

Photoart House of Milwaukee. 220 Wells St. 
Superior: Greenfield Photo Supply Co., 1328 Tower 



en S. O'Brien Co 

rcial Sludio, 

IMOWIE IM /% 1^ E R S 



Cape Province 
Cape Town: Kodak (South Africa) Ltd., "Kodak 
House," Shortmarket and Loop Sts. 
Lennon, Ltd., Adderley St. 


New South Wales 

Sidney: Harringtons, Ltd., 386 George St. 

Kodak (Australasia) Pty. Ltd., 379 George St. 

New Zealand 

Wellington: Kodak (Australasia) Pty. Ltd., Box 

1474. G.P.O. 

Brisbane: Kodak (Australasia) Pty. Ltd., 250 
Queen St. 

South Australia 
Adelaide: Harringtons, Ltd., 10 Rundle St. 
Kodak (Australasia) Pty. Ltd., 37 Rundle St. 
Hobart: Kodak (Australasia) Pty. Ltd., 45 Elisa- 
beth St. 

Melboi/rne: Charles W. Donne. 349-51 Post Of- 
fice Place. 

Harringtons, Ltd., 266 Collins St. 
Kodak (Australasia) Pty., Ltd., 284 Collins St. 
Kodak (Australasia) Pty., Ltd., 161 Swanston St. 
Technical Journals Pty., Ltd., Temple Court, 422 
Little Collins St. 

West Australia 
Perth: Kodak (Australasia) Pty. Ltd., Hay St. 

Photographic Exchange, Ltd., 



Boston Hat Works and News Co., 109 
Eighth Ave. 

British Columbia 
Vancouver: Eastman Kodak Stores, Ltd., 610 Gran- 
ville St. 

Film 6? Slide Co. of Can., Ltd., 319 Credit Foncier 

Winnipeg: Eastman Kodak Stores, Ltd., 472 Main 

Hamilton: W. Hill &> Bro., 90 W. King St. 
Ottawa: Photographic Stores, Ltd., 65 Sparks St. 
Toronto: Eastman Kodak Stores. Ltd., 66 King St. 
T. Eaton Co., Dept. V.-6, 190 Yonge St. 
Film S Slide Co. of Can., 156 King St., W. 
Lockhart"s Camera Exchange, 384 Bay St. 
Montreal: T. Eaton Co., St. Catherine St., W. 
Film 6" Slide Co. of Can., Ltd., 104 Drummond 
Gladwish y Mitchell. 147 Peel St. 


Hong Kong: The Pharmacy, Fletcher ^ Co., Ltd., 
26 Queen's Rd., Central. 
Shanghai: Chiyo Yoko Photo Supplies, 470 Nan- 
king Rd. 

Eastman Kodak Co., 64 Kiangse Rd. 


Copenhagen V: Kodak Aktieselskab, Ostergade 1. 



Batavia: Kodak, Ltd., 38 Noordwijk, Weltvreden. 

Harrogate: A. R. Baines, 39 James St. 
London, S. W. I.: Westminster Photographic Ex- 
change, Ltd., 119, Victoria St. 
London. W. C. 2: Sands. Hunter ^ Co., Ltd., 

37 Bedford St.. Strand. 
London. W.I.: Bell &■ Howell Co.. Ltd.. 320 Re- 
gent St. 

J. H. Dallmeycr, Ltd., 31 Mortimer St., Ox- 
ford St. 

Wallace Heaton. Ltd.. 119 New Bond St. 
Wallace Heaton. Ltd.. 47 Berkeley St.. Piccadilly. 
Westminster Photographic Exchange. Ltd.. 62. 


Oxford St. 
Sheppield: Wm. Mcintosh (Sheffield) Ltd.. Change 


Sheffield Photo Co., 6 Norfolk Row (Fargate). 


Honolulu: Honolulu Photo Supply Co., P. O. 

Box 2999. 

Den H, 


iRDAM: Capi, 115 Kalverstraat. 
Schaap ^ Co.. Spui 8. 

: Capi, 124 Noordeinde. 

1 Ter Meer Derval, Fred. Hendrikla, 

Groningen: Capi, 3 Kleine Pelsterstraat. 
Nijmegen: Capi, 13-17 van Berchenstraat. 

Capi, Broerstraat 48. 
Rotterdam: Bollemeijer d Brans, Korte Hoogstraat 


Budapest, IV: Pejtsik Karoly, Varoshas U-4. 

Bombay: Continental Photo Stores, 253 Hornby Rd. 

Hamilton Studios, Ltd., Hamilton House, Graham 

Rd., Ballard Estate. 
Calcutta: Army if Navy Coop. Soc, Ltd., 41 

Chowringhee St. 

Milan 29: Kodai Societa Anonima, Via Vittor 

Pisani N. 6. 

Kobe: Honjo &* Co.. 204 Motomachi 6-Chome. 
Kyoto: J. Osawa 6? Co., Ltd., Sanjo Kobashi. 
Osaka: Fukada &■ Co., 218 Dojima Bldg. 

T. Uyeda, No. 4 Junkeimachi Shinsaibashi-suji, 

Tokyo: Home Movies Library, 515 Marunouchi 


Shimbun Bl 

W. Beck Shokai, Nich 
o. 2 Yurakucho 1 Chomj 
American Photo Supply Co., 

Agcncia Postal 
Kodak Mexicana, Ltd., Independencia 37. 
Pathe Baby-Agency for Mexican Republic; Latapi 
Y Bert, Av. 16 de Septiembro 70, El Globo. 
Puebla: Casa "Hertes," Av. Reforma 109. 

Oslo: J. L. Nerlien A/S, Nedre Slotsgate 13. 
University Book Shop. 

Manila: Dcnniston. Inc.. 123 Escolta. 

Ancon: Specialty Shop, Box B. 

Panama City: Lewis Photo Service, 1 Fourth of 
July Ave. 

Edinburgh: J. Lijars, 6 Shandwick PI. 
Glasgow: Robert Ballantine. 103'/. St. Vincent St. 
J. Litsars, 101 Buchanan St. 
Bangkok: Prom Photo Studio, New Rd., Cor. Char- 
tered Bank Lane. 

Barcelona: James Casals. 82. Viladomat St. 
Madrid: Kodak Sociedad Anonima, Puerta del 
Sol 4. 

Penang: Kwong Hing Cheong, Ic Penang St. 
Singapore: Y. Ebata y Co., 3 3 Coleman St. 
Kodak, Ltd., 130 Robinson Rd. 
Medan: Y. Ebata H Co., 69 Kesawan. 

Stockholm: A. B. Nordiska Kompaniet, Photo- 
graphic Dept. 

Lausanne: Kodak Societe Anonyme, 13 Av. Jean- 
Jacques Mercier. 
Winterthur: Alb. Hoster, Marktgasse 57. 
Zurich: Cans and Co., Bahnhofstrabe 40. 
Zulauf (Vorm. Kienast a Co.). Bahnhofstr. 61. 

This giant Automatic Light Con- 
trol Board has a capacity great 
enough to print a thousand foot reel 
in a continuous run. One hundred 
and fifty-two scene changes and 
twenty-two light densities or a less 
number to match your timing and 
printer. Used for Optical Reduc- 
tion printers, and standard print- 
ers for greater speed and economy. 
Used by news weeklies and for 
synchronous printing by two of the 
largest laboratories in U. S. A. 


Chicago. U.S.A. 

J»I>%RCH 1929 

^>fW5»?ii *<«fiE» ■' *' 



Wallace Beery, RaytnoncJ Hattoii and Chester Conkliu in their funtiiest picture of all! 

Since its announcement a year ago, "Behind the Front," with the same stars, 

has been the most popular feature in the Kodascope Library list. 

This one is even better. A laugh a minute! 

You will always find the best features, the biggest stars and the greatest 
assortment in the Kodascope Libraries. 

These, the original home rental libraries, easily maintain their leadership and supremacy. 

Used copies of nearly all subjects can he purchased outright at reduced prices. 

World-wide distribution, an adequate number of duplicate copies and an experienced 
organization offer you a rental service of enduring satisfaction. 


contains many new subjects, drops many of the older ones and reduces rentals of 
many others. More than 400 reels at average rental of less than $1.00 each! 
Average rental entire library (nearly 1000 reels) only $1.22 each. 
You can rent twenty to forty reels for the cost of one! 


To Dealers w-ho desire Profits from opera- 
tion of their own Film Rental Libraries. 
Our Experience and Resources assure the 
.Success of our Distributors. No risk. 


But recommended because of extra advantages and economies afforded. 



Branch Libraries and Distributors in: 

































Projector Stand 
Any Model $18.50 


V- ■ ^" 

** Movies in the Home^^ 

Manufactured under Hayden Patents and Patents Pending 


The Eye Follows the Picture — The Ear Tells the Footage 

They are now oblainabiv 




PRICE $7.50 

liemember no 

alteration to your 



When you press the button on your Kodak you get the Picture, Not 
so with the Movie Camera, it is the footage of film that counts. One 
audible click of the Footage Meter tells you that one foot of film has 
passed through the camera, or two and one-half seconds for projec- 
tion. A picture worth taking should have ten seconds of projection 
or four clicks or as many more as you desire. Saving film while avoid- 
ing disappointment will pay for the Hayden Audible Footage Meter 
in a short time. 

Yes, They Are Coming . . . 


. . . And That Is Not All. 

A. C. HA^i DEN CO., 
Rrockton, Mass., U.S.A. 

Please send free your booklet with Film Log for my films. 



Panchromatic Film 

Thin picture illiislralfx the nntiiralness and he<iiily ohtninablc 
eieii ill coiiimoiiplace subjecLs willi Pancliroiiialic Fihn.^ 

THERE are sound scientific reasons why 
you can make belter movies with Cine- 
Kodak Panchromatic Fihn than wilh 
ordinary film. 

Ordinary fihn is sensitive chiefly to bUie and 
violet. Green and red, colors that to the eye are 
as bright as blue and violet, are not correctly 
recorded on ordinary film. Consequently, there 
is a great difference between the brightness of 
colors as reproduced in photographs and as 
seen by the eye. This difference is largely cor- 
rected by the use of Panchromatic Film, be- 
cause it, like the eye, is sensitive to all colors. 

The use of "Pan'' will improve practically 
every type of motion picture. In portraits, and 
especially in close-ups, the rendering of flesh 
tones is more accurate; colors, whether oc- 
curring in costumes or in landscapes, are re- 

<'orded in their proper relative black and white 
values; and the photographic quality of dis- 
tant views, especially when a color filter is 
used, is greatly improvetl. This is because blue 
and violet light, which is responsible for haze, 
is not passed by the filter. 

Cine-Kodak Panchromatic Film is priced at 
$7.50 per 100-foot roll. A filter, recommended 
for use under certain circumstances, is priced 
at $2.50 for the Cine-Kodak, Model B, /.1.9, 
and at $1.50 for the Model B,/.3.5 or/.6.5. Older 
models of Cine-Kodak/.^.S require an attach- 
ment costing $1.00 before they can be used 
with a filter. 

With "Pan'" you can make the kind of pic- 
tures you will be particularly proud to show 
on your screen. You can get "Pan" from your 
Cine-Kodak dealer. 


U C) C II E S T E 11 , N E W Y () 11 K 



MtoHiJiyiiie 4»t iiiMe;#^ 

Projector Stand 
Any Model $18.50 


Reel Holders lor Filmo 
Projector, Pair 15c 

^^Movies in the Home^^ 

Manufactured under Hayden Patents and Patents Pending 


The Eye Follows the Pieture — The Ear Tells the Footage 

They are now obtainable 




PRICE S7.50 

Remember no 

alteration to your 



When you press the button on your Kodak you get the Picture. Not 
so with the Movie Camera, it is the footage of fihn that counts. One 
audible chck of the Footage Meter tells you that one foot of film ha.'; 
passed through the camera, or two and one-half seconds for projec- 
tion. A picture worth taking should have ten seconds of projection 
or four clicks or as many more as you desire. Saving film while avoid- 
ing disappointment will pay for the Hayden Audible Footage Meter 
in a short time. 

Yes, They Are Coming ... 


. . . And That Is Not All. 

Brockton, Mass., U.S.A. 

Please send free your booklet with Film Log for my films. 

A ddress... 

io'«'iE im;%i«eic» 

Noii?9 in Your Home . . . 
Movies of Theatre Screen Quality 

Theatres know that Brilliant Pictures depend on the quality of the Print. That 
is why the industry uses guaranteed "<!ertified Prints" to carry the greatest 
motion picture stars and photoplays to theatre screens throughout the world. 

Similarly, in the Home, the SCREEN QUALITY of the Print is essential for satis- 
factory projection. Consolidated Film Industries, Inc., offers you a varied choice 
of entertaining subjects on ""Certified Prints" which can be purchased through 
leading dealers at prices no higher than subjects of ordinary printing quality. 

April Releases 


Prepared specially for Home Projection 
28 Subjects 16 mm. Safety Film 100 ft. to a roll 


per roll 

500 The Auto Salesman 

501 ]My Error 

502 The Baby Bootlegger 

503 Fixin' Lizzie 

504 In Wrong 

505 The Poor Fish 

506 The Dentist 

507 Rough Seas 

508 Tin Can Tourists 

509 April Fool 

510 My Baby 

511 A-TentingWeWillGo 

512 Smoke Up 

513 Bobby Go Boom 

514 Nellie Gives 

515 A Broadway Camp 

516 An Embarrassing 

517 Free Tickets 

518 The Lost Garter 

519 Howdy Judge 

520 A Warm Reception 

521 In Your Hat 

522 Nosey Bobby 

523 A Wet Knight 

524 The Ticket Collector 

525 Fisherman's Luck 

526 Fool's Luck 

527 Hunters 

Travel Around the World in Your Arm Chair 


26 Subjects 16 mm. Safety Film 100 ft. to a roll 
Made by expert travel photographers 



per roll 

200 Wonders of Oregon 

201 Peaks, Parks & Pines 

202 Bit of God's Country 

203 Wonders of Canada 

204 Out Wyoming Way 

205 Pioneer Outlaw 

206 We Visit British 

207 An Eye Full of Egypt 

208 Mid Sahara Sands 

209 Pyramid Land 

210 Highlands of America 

211 Cuzco— The City of 
the Sun 

212 Glimpsing Gondolas 

213 From Lima to the 
Top of the Andes 

214 Hunting Game in 

215 Peru, the Land of 
the Incas 

216 Dells of Wisconsin 

217 Paradise Outdoors 

218 Life Among the 

219 BridesniaidtoBeauty 

220 Life in Southern Peru 

221 Geysers of Yellow- 
stone Park 

222 Rodeo and \^ estern 

223 A Peek at Paradise 

224 Vacation Land 

225 Bulls and Bears of 
Yellowstone Park 

If your local dealer has not the Subject you desire — address us and ive shall see that you are promptly supplied 

1776 Broadway ^^^^ New York 

Eirry reel of ■CERTIFIED PRI.VTS" 
is fruttrantefit bv the tvortd's largest 
film laboratories— seven moilern 
/ilanls— rapacity 600,000,0011 feet 

DEALERS: iTfr/^:, 


I 1776 Broadway, New York City 

I Gentlemen: 

' Kindly place my name on your mailing list to receive ann«)Uiicemcnts 

I of vour latest releases. 


I Address 

ISame of Dealer 

;%1>IUL 1929 





jyjODERN in design, its small bulk brings 
a new acceptable feature for telephoto 
work. Especially adaptable for turret model 
cameras. Tlie brilliance and definition and 
absence of distortion add to its remarkable 

In unique adjustable focusing 
mount; finder attachments in- 




r^OES away with the 
tripod thumb screw. 
A Permanent part fits 
the camera ; another 
small permanent part 
fits the tripod. To in- 
stall camera on tripod 
place camera in position, 
snap lever over, and 
your camera is attached 
in a vise-like grip. The 
same locking lever is 
also a release for panor- 

No larger than your pocket watch and about 
half as heavy. Simple mechanical jmo 'rr 
construction that works with ease. ^"» • t) 


* 'TrJ^«=S'^1:pS**5*SSCf>^/^^ i^^ 


Recognized as a necessary accessory to in- 
sure correct results, a scientifically de- 
signed and accurate exposure meter. Now 
gaining a remarkable reputation by en- 
hancing in clearness and sharpness tlie 
pictures of its many users. 


Don't spoil film. 
Take our advice 






Combining extreme 
ease of handling with __ 

a perfection of screen s:Ito1open 
surface to give good 
projection results. 
A beaded surface that 
^i^es depth and bril- 

^To CLOSE Kw One pull upwards 
and it snaps into po- 
sition, ready for use. 
It is strong, durable, 
compact, washable, 
good looking, and ef- 
ficient. Built to serve 
for a lifetime. 

22"x30" $17.50 ..v/v""^;*- 

30" X 40" 25.00 ,,/w^'^'■"'n\^^«^* \ 

IZ Maiden LaneN.Y.C 

AaW-ii .J . 


MAOA^l.^t or THE AMATEim CIWtM..* ■.E4«t'F. I.^'C 

APRIL, 1929 


Cover Design H. O. Hofman 

Featured Releases jor Home Projectors 210 

Index to Advertisers 212 

Editoriai. ■ 

Hueneker Would Have Called This "A Picture" Photograph by Ralph Young 

Pictures Versus Photographs Epes W. Sargent 

Practical Methods jor Achieving the Essentials of Significant Subject Matter, 
Composition and Atmosphere 

Making Your Movies Better H. Syril Dusenbery 

Advice for Beginners on Exposure, Focus, Reflectors and Tripods 
The Clinic Edited by Russell C. Holslag 

Film and the Fleeting Art Louis M. Bailey 

How a Great Ballet Master Relies on the Cine Camera to Teach and Preserve His Art 

Wholesale Portraitlire Epes W, Sargent 

Ten Suggestions for Making Group Pictures That Are Screenable 

Movie Making in Mexico Emma Lindsay Squier 

A Delightful Tale of Cine Conquests in the Land of Revolutions 

Amateur Clubs, News of Group Filming Edited by Arthur L. Gale 

A Simplified Guide to Cinematic Composition Walter Martin 

Third of a Series of Practical Diagrams 

Circles for the Cinematographer Photograph by Warren Boyer 

Photoplayfare, Reviews for the Cintelligenzia Edited by Roy W. Winton 

Critical Focusing, Technical Reviews to A id the A mateur Edited by A rthur L. Gale 

The Art of Direction .-1 lexander Bakshy 

As Seen by the Director of "The End of St. Petersburg" 

You'll Find the World on Main Street Paul D. Hugon 

How to Use Local Settings to Solve Your Photoplay Scenic Problems 

Film Flam Edited by Louis M. Bailey 

Lively Titling, Its Official Name Is "Simple Repetition Animation" Herbert C. McKay, A.R.P.S. 

Educational Films Edited by Louis M. Bailey 

News of Visual Education in Schools and Homes 

A Saga of Sunsets and Skylines, An Art Title Background Photograph by Edward C. H. Vogler 

News of the Industry for A mateurs and Dealers 

Around the World with Movie Makers 266-268 

An International List of the Dealers Who Carry This Magazine 
Classified Advertising 






♦ ♦ ♦ 

MOVIE MAKERS is published monthly in New '^'ork, N. Y., by the Amateur Cinema League, 

Subscription Rate $3 00 a year, postpaid (Canada $3.25, ForeiSn $3.50); to members of the 

Amateur Cinema Leajue. Inc. $2.00 a year, postpaid; single copies, 35c. 

On sale at photographic dealers everywhere. 

Entered as second-class matter August 3, 1927, at the Post Office at New York, N. Y., under the Act of March 3, 
Copyright, 1929, by the Amateur Cinema League, Inc. Title registered at United States Patent Office. 

Editorial and Publica 

105 West 40th Street, New York, N. Y. Telephone, Pennsylv 

; on application. Forms close on 5th of preceding month. 
K. L. NOONE, Adverlisiag Manager 

RUSSELL C. HOLSLAG, Technical Edit 

ARTHUR L. GALE, Club and Photoplay Edilo 




APICML 1929 

Color Without Complication 

As Far Ahead of Black and White 
As Movies Are Ahead of Stills 

You will never be satisfied with grey skies and putty- colored 
faces after you have seen a demonstration of this sensational 
but practical new process for taking and showing movies in 
natural colors. 

Procedure in filming or projecting is just as simple as in black and 

white work. 

Any number of duplicates may be made from original negative, when 

made on Vitacolor panchomatic film. 

Successful results are obtained with any lighting conditions that will 

produce good black and white photography. 

It costs surpnsingly little to adapt your present camera and projector 

to Vitacolor, when its wonderful results are considered. Come m and 

see a Vitacolor picture projected. 


Ideal for editing because individual pictures may 

be held indefinitely without risk of fire. This 

machine projects very steady, clear pictures and 

is unapproached by any other at its price. 


MOTOR DRIVEN MODEL $75.00 $35.00 

Special Sale on Books for the Movie Maker 

Amateur Movie Making $3.00 

Motion Picture Photography for the Amateiir. . . 2.50 

Motion Picture Projection 6.00 

Motion Picture Photography 6 00 

Less 25% 


The lens to use when DEFINITION and SPEED are at stake. A large per- 
centage of all professional camera men can't be wrong! You can safely follow 
their overwhelming preference for Dallmeyer 

The f 1.9 in three focal lengths: 
1 inch — 2 inches — 3 inches 

The f 1.5 in four focal lengths: 
1 inch — 1'/2 inches — 2 inches — 3 inches 

Dallmeyer lens guide on request 
Sole United States distributors of Dallmeyer products 


18 EAST 42N«> Street 



For Home Projectors 

Bell y Howell Co., Chicago, 111. Drama. 
comedy and travel elbow each other in the Filmo 
Library but American history has the call this month 
with The ItKiuguration of Herbert, 100 ft. of 
films to be taken out of the "archives" one day or 
other for comparison with the inauguration of some- 
body or other in Nineteen Eighty Something or Other. 
Then there is the Circus-Canadian North Woods- 
Thomas H. Ince feature. Soul of the Beast, in which 
one must count four stars, for Madge Bellamy, Cullen 
Landis and Noah Beery share honors with Oscar, the 
elephant, in five 400 ft. reels. Drama de Luxe is 
a two. reel comedy which stars Lupine Lane. The 
month's list shows one Cameo Comedy, Mr. Chump, 
a 400 ft. reel, and of course two Feli.x the Cat Car- 
toons, Fdix Helps the Hunter and Felix and Mammy's 
FIafjac.i(s. both 100 footers. Three Grand Canyon 
films conclude the program for April: Along the 
.North Rim of the Grand Canyon. Up the Kaibab 
Trail to the ,\orth Rim of the Grand Canyon and 
Doiim the Bright Angel Trail into the Grand Can- 
yon, all 100 ft. 

E.«TMAM KoD,\K Co.. Rochcster. N. Y. Snap the 
Gingerbread Man in Climbing the Alps. That should 
he enough for the moment but here come the Doodle- 
bug Volunteers in The Fire Brigade. So much for 
the Fairyland Cinegraphs. More serious are the An- 
cient Temples of Athens, 100 ft., and Tombs and 
Temples of the Phaiaohs, 200 ft, of beautiful photo- 
graphy in Cleopatra's country. 

Empire Prints. New York, N. Y. Each 100 ft. 
and a complete catalogue may be had for the asking. 
Lindy's Historic Reels, the Bremen Flight, the well- 
known Zobelogs, taking one on personally conducted 
tours to out of the way spots, travel pictures of 
Switzerland, Palestine ... and then on to the come- 
dies . . . "Specials for Everyone," as the slogan goes. 
The Burton Holmes Lectures, Inc.. Chicago, 
111. This month these famous travelers would take 
you with them on a trip to the Indian Southwest and 
vou have the privilege of visiting with them Santa 
Fe— the City Different and from there dropping over 
to Torrid Tampico. You may visit the metropolis of 
the Mexican oil fields where some years ago the "Bad 
Boy" broke loose, and go further south to find your- 

self Under Cuban Skies or in B^aulifu 
cidentally getting some splendid glimpse 
spot from the air. Why travel alone 
go with Burton Holmes? 

Bermudo. in- 
s of that lovely 
when you can 

Home Film Libr.*ries. Inc.. Nevv 
The announcement seems brimful of n 
come four 100-ft. reels, Hindu Life 
giving a complete 400-ft. unit of Hin 
are scenes of striking interest, i'ncludi 
ficial ceremonies and the cremation of 
girl at a burning ghat, pictures that 

York, N. Y, 
ivelty, for here 

and Sacrifice, 
ia life. There 
ng actual sacri- 

a dead Indian 
arc said to be 

in theil 

KoD.«coPE Libr.aries, Inc. Here may be secured 
a picture of extreme and timely interest. Flying Ca- 
dets, produced under the auspices of the Government. 
By means of two reels, 400 ft., it shows the entire 
training course of two novices in flying and brings 
them to the point where the roads branch into com- 
mercial, air mail or military flying. These reels may 
be had for purchase or rental. 

P.^THEGR.iMS. New York and Jersey City, N. J. 
Amateurs should secure for themselves the 1929 
Pathegram.^- Spring Catalogue, which maybe had from 
dealers or direct from the company. However, spe- 
cifically mentioned in the April announcement are: 
Our Gang in Fast Company, the Smith Family in The 
Bargain Hunt, in which Mary Ann Jackson stars, both 
400 ft. films, and Mr. and Mrs., a novelty in 100 ft. 
without human actors in which Pathe traces by sug- 
gestion a marriage, a honeymoon and the aftermath — 
just what the aftermath may be is not explained. The 
program continues with a 400-ft. Western, The 
Devil's Tuin. in which Leo Maloney stars, and ends 

•ith Bil 




elude a" 

al foolishness." 
M. Revnolds. C 
of Mr. Reynolds' 

Dodgers. 200 ft. ol 

leveland, Ohio. A new 
Gold Seal Pictures has 

five subjects, which in- 
of attractive scenics. 




Attachments for Bell & Howell 
and Kodascope projectors, $100 

"And those that praise them truest praise them most." 

Praise vs. Flattery 

7LATTERING tributes by the score have been paid Vitacolor 
by well-meaning persons to whom the technique of the camera 
was unknown. Unsatisfied with this, we desired a higher, 
franker expression ... a sincere and expert opinion of our product 
which could be accepted by the public without qualifications. Not 
without some anxiety over the outcome, we picked the severest critics 
that could be found anywhere and showed them Vitacolor. You know 
who they were ... if you have paid regular visits to your movie 
theater and witnessed the screen triumphs exhibited there. They were 
the men who made those triumphs possible . . . the cinematographers 
of Hollywood, upon whom the entire motion picture industry leans 
for support. They would be the first to detect a flaw in anything 
pertaining to the cinema. But after viewing both 16 mm. and 35 mm. 
Vitacolor pictures they left behind them such euphonious words of 
praise as: ". . . to say that we were pleasantly surprised would be a 
mild statement ... we were astounded . . . Vitacolor films are cer- 
tainly more than moving pictures . . . the nearest approach to life 
possible to be thrown upon the screen ... a color so pure and so 
beautifully blended that every sensation of life comes as if by magic 
to the screen . . ." That, friends, was praise ... by men who \now! 



207-9 N. Occidental Boulevard 

Los Angeles, Calif. 

Every user of Du Pont Vitacolor Pan- 
chromatic film is returned a negative 
and a positive, also a technical criti- 
cism of every roll taken. Price. S12 per 
100-/00/ roll. 


;%PRJ[M. 1929 



Manufacturers of the Capitol continuous 
self-operating motion picture projector. 


President and Treasurer Frank J. Crohan 

Vice-President and Secretary Geo. C. Beach 

Vice-President Milton H. Hall 



R. Henry Depew, Chairman 
A. H. T. Banzhaf Milton H. Hall 

George C. Beach Or-a S. Webster 

Frank J. Crohan Owen B. Winters 

Sales Manager Jos. P. Nathan 

Movie Makers Announces 



And, of course, vou can still secure binders 
for Vol. MI (1926-7) and Vol. Ill, 1928 

AT COST— $1.50 EACH 
To MOVIE MAKERS. 105 W. 40th St., New York, N. Y. 

Inclosed is $ for the binder(s) noted below; 

Vol. IV VoL III Vol. I-II 

City State 





Ttcenty foot animated leaders to proudly 
tell the Korld of your A.C.L. membership 

AT COST— 16 MM. LEADERS. $1.00 
60 FOOT 35 MM. LEADERS, $3.00 

To the AMATEUR CINEMA LEAGUE. 105 W. 40th St., 
New York, N. Y. 

Inclosed is $ for the leader(s) noted below: 

16 MM 35 MM 



City State 

Index to Advertisers 

Agfa Ansco Coipn. 255 

Arrow Screen Co. 258 

Bass Camera Co. 252-6 

Bell & Howell Co 244-5, 272 

Brooks, Burleigh 265 

Bucliheister Studios 267 

Capitol Machine Co., Inc. 212 

Chicago Commercial Photographic Co. 262 

Cinematic Accessories Co 265 

Clark Cine Service 269 

Classified Advertising 267 

Consolidated Film Industries, Inc. 207 

Cullen. W. C 208 

Depue & Vance 269 

Drem Products Corpn. 257 

Duograph, Inc 214 

Eastman Kodak Co 238-9. 251, 271 

Eastman Kodak Stores, Inc 250 

Empire Safety Film Co 249 

Eno's Art Titles 257 

Fischer's Camera Service, Inc. 256 

Gillette Camera Stores, Inc. 264 

Goerz American Optical Co., C. P 249 

Graf Lens Co 250 

Hattstrom & Sanders 256 

Hayden Co., A. C 206 

Herbert & Huesgen Co 210 

Holmes Lectures, Inc., Burton 264 

Home Film Libraries, Inc. 254 

Home Movie Service Co. 252 

Home-Talkie Machine Corpn. 261 

Kleena-Fylm Corporation 212 

Kodascope Editing & Titling Service . 264 

Kodascope Libraries, Inc 270 

Lugene, Inc 264 

Marshall, John G. 256 

Meyer & Co., Hugo 259 

Midwest Films 256 

Nature Magazine 253 

Navilio Film Exchange, J 269 

News Reel Laboratory 26'1' 

Northeast Products Co 252 

Parker & Battersby 262 

Pathe Exchange. Inc 247 

Photoplay Magazine 260 

Q. R. S. Company 241 

Reynolds, Ernest M 262 

Scheibe, Geo. H. 269 

Sekaer. P. Ingemann 264 

Stumpp & Walter Co. 262 

Teitel, Albert 269 

Testrite Instrument Co. 263 

Truvision Projection Screen Corpn. . 263 

Victor Animatograph Co., Inc 243 

\ itacolor Corpn.. Max B. Du Pont . 211 

Williams, Brown & Earle, Inc 262 

Willoughbys 213 

Wollensak Optical Co 267 

Zeiss. Inc., Carl 253 

■Save Your Films- 

Kleena-Fylm is a fluid 

It cleans, rejuvenates and makes old Film as 
pliable as new. Improves projection. Used by 
some of largest motion picture producers in 
the world. Write for particulars. 








Frosted Crystal Pearl Bead Sur- 
face. Has exceptional brilliance. 

To open screen, pull handle 
straight up and screen is ready 
in an instant. 

To close screen, simply touch 
side supports and screen rolls 
down into its case. 

Type AX [Leatheioid Covered 

15 X 20 $25.00 

22x30 27.50 

30x40 33.50 

36x48 38.50 

39 X 52 40.00 

Type CX [Lacquered Brown 
Rubbed Finish Case) 

15x20 $20.00 

22 X 30 23.50 

30x 40 28.50 

36x48 34.50 

39x 52 36.50 



« ,A |«i , .j-« / A practical and exception- 

V/Vll L I h VV ally good-looking film file for 

storing 400 foot reels 16 mm. 
IT I I (yi pil p film. Supplied in two models, 

■ ILI I lil_I_ ^^^ pf ^j^ book-units, each 

holding 2 reels, and one of three book-units. 
Sturdily made, built of wood, covered with green Spanish 
water-proof artificial leather and lettered in gold. 

6 Book-Unit $15.00 

Price— 3 Book-Unit 8.50 




Attaches direct to Filmo projector. Pro- 
duces perfect enlarged negatives 2V4x3V4 
directly to a film pack. Made to work in 
daylight, no dark room necessary, expos- 
ure required is only about 1/25 of a sec- 
ond from average film. 

Itnlarger complete with film pack 



Wood Tripod, Aluminum 
Extension Legs, only 4% 

pounds $35.00 

Plates for Projector use 

$6 and $7.50. 

Canvas Shut Tite Case, $4. 

Closed 33'/2", Extended 58" 

Tilt and Panoram Top only 


JfV are the Eastern 

The Ideal Case for 
.Amateur Movie Cameras 

e New Alligator mocatan finish 
r>ing cases are strongly constructed, 
sh lined, and have compartments 
films and accessories. 
Can be had in 4 models— for 

le Kodak with F-3.5 lens $12.50 

le Kodak with F-1.9 leos 12.50 

mo Model 70 15.00 

mo Model 75 10.00 




/%PIUL 1929, 


Projects Brilliant and Steady 16MM 

Model B — Motor Driven — 

Motor made by General Electric Co. Fan cooled, con- 
trolled by governor, an exclusive feature found only 
on Duograph. Operates on A.C. or D.C. Entirely en- 
closed in solid aluminum base. 





Lamp and Electrical Appliances by 

Lens and Optical System by 

Die Castings by 

Invented and Designed by 


The motorized base is interchangeable with hand driven Models A 
and can be quickly and easily attached. It is provided as an accessory 
to those Models. 

A chromium plated bracket 
holding 400 ft. reels, with 4-to-l 
geared rewind is provided as an 
accessory to Model A. Replaces 
and interchangeable with 200 ft. 
bracket. Price, $7.00. 


MODEL A— (Standard) 

Combination crackle finish, bracket for 200 ft. reels 
and direct rewind. 

Complete with Carrying Case. 


MODEL A— (De Luxe) 

Chromium plate and crackle finish on gold or silver, 
bracket for 400 ft. reels, and 4-to-l geared rewind. 

Complete with Carrying Case. 



Immediate Deliveries 
on All Models 

If not yet available through your local dealer write to us 
for name of nearest dealer. 

DUOGRAPH, Inc, 130 West 42nd Street, NEW YORK, N. Y. 

«■ O -%' ■ E !M .<m K C R 9 


F one of your friends said to 
you, "I have written a very 
beautiful sentence and I want 
you to hear it," and then read 
aloud to you these words: 

"Tropical iridescent a were brilliant made 
thousands sun blossoms blazing by riotous 
colors the from", 
you would conclude either that he had started 
to burn offerings at the shrine of crazy poetry or 
that he had indigestion from swallowing a dic- 
tionary. If he then presented an argument which 
said that, since each individual word of his sen- 
tence is a beautiful word or conjures up a beau- 
tiful idea, the sentence is beautiful of itself with- 
out regard to its word order, you would probably 
develop a sudden engagement elsewhere and tele- 
phone to his family that friend Bill had gone out 
of his mind. 

<| But if friend Bill read to you : 

"Riotous colors from a thousand brilliant 

blossoms were made irridescent by the blazing 

tropical sun", 
you would know what he was driving at, al- 
though you might think he was ranting in a 
day-dream. If he asked you if his was not a beau- 
tiful sentence, filled with beautiful words and 
evoking beautiful pictures you would probably 
grant his point readily enough. 

C]l How many times do you present films to your 
friends in the same formless and disorderly con- 
dition as the first of these sentences .'" How many 
times do you do your day's shooting completely 

hap-hazardly, trusting to edit it 
later? How many times do you 
ignore CONTINUITY which is 
nothing more or less than put- 
ting two and two together to make a cinemato- 
graphic four? It is planning your filming — 
whether it is fifty feet or 500 feet — in such a way 
that the day's result will either tell a connected 
story itself or will provide definite pieces for a 
longer connected story of which the day's film- 
ing is an arranged and planned part. 

(][ Delightful words collected at random from a 
dictionary or a book of poems have absolutely no 
usable value unless they are connected into sen- 
tences that start somewhere, move in that direc- 
tion and get somewhere. Delightful ten-foot 
shots of film are as valueless as disconnected 
words until they are brought into a whole. Just 
as we plan our sentences before we write or speak 
them, so must we plan our films before we shoot 

C| Too many amateurs shrug their shoulders at 
the word, "continuity", and dismiss it as one of 
those frilly things that come from Hollywood 
and are unnecessary for a filmer who wants just 
straight pictures with "no photoplay nonsense." 
But continuity goes right on being a necessity for 
everything in film shooting that runs for more 
than ten feet. Amateurs may take it or leave it 
but they cannot ignore it. 

^ Carlyle's comment on Margaret Fuller's melo- 
dramatic statement, "At last I am willing to 
accept the world," is not malapropos. The Chel- 
sea dyspeptic growled out. "Gad, she'd better." 

A Word About the Amateur Cinema League 

THE Amateur Cinema League is the international or- 
ganization of movie amateurs founded, in 1926, to 
serve the amateurs of the world and to render effec- 
tive the amateurs' contribution to cinematography as an art 
and as a human recreation. The League spreads over fifty 
countries of the world. It offers a technical consulting 

service; it offers a photoplay consulting service; it offers 
a club consulting and organizing service; it conducts a 
film exchange for amateur clubs. Movie Makers is its 
official publication and is owned by the League. The direc- 
tors listed below are a sufficient warrant of the high type 
of our association. Your membership is invited. 

Amateur Cinema League, Inc., Directors 



Hartford, Conn. 


Director of the National 

Association of Broadcasters 

Chairman, Board of Directors 
Hndsoo Motor Car Company 

Architect, of New York City 

30 E. 42nd St., New York City 


Personnel Manager 

Standard Oil Co. of N. Y. 

Managing Director 
ROY W. WINTON, New York City 



1711 Park St., Hartford, Conn. 

Director of Recreation. 
Russell Sage Foundation 

Scientist, of Litchfield, Conn. 

ADDRESS INQUIRIES TO AM.\TEUR CINEMA LEAGUE, Inc, 105 West 40th Street, New York, New York 


"A Photograph." He Said. "Is a Picture When It Combines Significant Subject Ma 
I and Atmosphere." 

Photograph bv Ralph Toung. 


APRIL, 1929 


Practical Methods for Achieving the Essentials of Significant 
Subject Matter, Composition and Atjnosphere 

MANY years ago I was showing 
a stack of my photographs to 
the late James Huneker. Still 
shots, of course, for the pioneers were 
yet working on the motion picture 
idea in their laboratories and had not 
even begun to think about production. 

Huneker, with more patience than 
he probably would have shown in 
later life, looked them over and hand- 
ed back the pack. "Well, Sargent," 
he said briskly, "you've got about 3 
dozen photographs there and one pic- 
ture." There was a caustic accent to 
that "picture." Huneker was still five 
years from fame, but an unsparing 
critic, even then. 

In view of the fact that there were 
about forty shots in the collection, his 
remark about a dozen photographs 
was not so encouraging, either. But it 
started me making more "photo- 
graphs" and a few more "pictures." 

Up to then I had been better satis- 
fied with some of the others, but 
Huneker pointed out that his choice 
was the only shot combining signifi- 
cant subject matter, composition and 
atmosphere. It was the atmosphere, 
or lack of it, in the others, to which 
he chiefly objected, for I had a good 
lens and rather prided myself on the 
sharpness of my pictures. That was 
in the days when a brother amateur 
praised a picture he had taken of 
Niagara Falls, not because it was a 
good picture of the Falls, but because 
on the Canadian side, nearly a mile 
away, three telephone wires cut the 

Some months later I was again crit- 
icized, this time because most of the 
recent shots had too much atmosphere. 
My critic inferred that lack of defi- 
nition was not, in itself, atmosphere. 
The fuzzy-wuzzies were worse than the 
airless pictures. Between the two ex- 

By Epes W. Sargent 

tremes I managed eventually to hit an 
average in which there was neither 
microscopic detail nor yet myopic 

Composition was something else. 
Most amateurs can learn not to focus 
too sharply, but composition is a little 
harder. The old style amateurs who 
worked with tripod and ground glass 
were better able to study composition 
values than the cine amateur of today. 
The Kodak was just making its way 
as a novelty and was classed, with 
similar types, as a "detective" camera, 
though no detective could have lugged 
around some of the miniature soap 
boxes that masqueraded under that 
title. One detective camera was four- 
teen inches long and you focused on 
the ground glass before slipping in 
the plate. 

Standard view-cameras were things 
of beauty with rich mahogany and 
lacquered brass instead of leather or 
leatherette and it was possible to study 
a scene before shooting. This made 
for better placement and a real ama- 
teur might examine the subject from 
a dozen viewpoints before finally tak- 
ing it. In my mind, a course in view- 
camera work would be of greatest 
benefit to the cine shooter of today. 

And it's that to which I've been 
leading up. Put yourself through a 
course in composition as preparation 
for the work of making motion pic- 

The average cinematographic be- 
ginner wants to start shooting imme- 
diately. He shoots everything. If the 
pictures are not good he shoots some 
more. Now and then he happens to 
get a good shot but this is far more 
often by accident than design. Many 

amateurs have found it most helpful 
to practice composition with a still 
camera, studying their results in the 
finished prints and then applying 
whatever was learned to the making 
of pictures in motion. The compact 
and economical still cameras which 
use rolls of motion picture film have 
proven a popular type for this study. 

Another plan is to work with some 
form of camera obscura. You can 
make one for yourself very simply. 
Get one of those dollar cameras sold 
in drug and cigar stores. Cut a trap 
in the top for the ground glass, in- 
sert a mirror at an angle of forty-five 
degrees, so that the centre of the tilted 
mirror cuts the focal point, and you'll 
have a dandy camera obscura that is 
not too heavy to carry around. If you 
are not handy with tools, a carpenter 
can do the work for you. 

Then master the elemental rules of 
composition. If possible, get a good 
book on the subject, though the 
articles on composition in back num- 
bers of this magazine contain all you 
really need to know. Most of the books 
are too highly technical. They cover 
the ground so thoroughly as to be con- 
fusing. You do not have to work for 
all the fine points. Get the general 

You know, for example, that it is 
bad to have a road or river running 
straight up the centre of a picture. In- 
stead you know one should angle to 
get a slanting line. You probably 
know that it is seldom wise to put the 
central object exactly in the middle of 
the field. You may also have found 
that too much fore or background is 
not conducive to the best results. 

So get all of the main rules of com- 
position in your head. Have a clear 
knowledge of what each rule means. 
Then write down the last and greatest 

i'^S^IUn. 1929 


of the rules, and that is: "There are 
times when every rule may be broken 
to the betterment of results." That's 
the most important rule of all, but 
until you learn how and when to break 
the fixed laws, stick to them. 

One of the first things the novice 
is told is not to shoot into the sun and 
yet breaking this rule will sometimes 
give a beautiful shot. More often it 
will merely spoil film or plate. By 
knowing just when, one can disregard 
the rule. Until then, however, go by 
the book. 

Now take your camera obscura and 
go out and put the rules into practice. 
Select a subject and aim head on and 
then from both sides. Start in the mid- 
dle and work both ways, stopping 
every few feet to note how the scene 
changes as you move around. Come 
closer in. Go further back. Take a 
hundred mental shots at the same sub- 
ject and figure out which are best and 
why. That's the important part, the 

All this may sound tedious and un- 
interesting, but if you really want to 
make pictures and not photographs, 
you'll not find it so. It will be fun if 
you have a genuine desire for the best 
results possible. 

Taking an entire day, it is a good 
plan to start and work out and back. 
Then you will find what a diff'erence 
a change in lighting makes. The flat 
scene of the morning may be better 
when observed in the afternoon sun. 
Sometimes the reverse is true. Keep 
studying until you can sense what is 
lacking in a lighting and tell approx- 
imately when the object will be best 

For black and white work it will 
help materially if you use a monotone 
filter, blue for ordinary film and the 
new filter for panchromatic. They 
will help more than a little to reduce 
color to actinic values in making your 
studies. That's where the amateur so 
often goes wrong. A colored scene is 
often pretty for the sole reason that it 

has color. Done in black and white, 
the composition may be poor and the 
general effect bad. 

Supplement your study with the 
camera by noting other pictures, both 
still and motion. Motion pictures are 
particularly helpful, for you'll see 
many clever camera tricks, providing 
you watch the photography rather 
than the story. But the main point is 
to study composition and you can get 
this from any print. Look for the good 
and bad alike, for often more can be 
learned from a poor picture than a 
good one. 

In the course of time you will ar- 
rive at the stage where the sense of 
composition is instinctive. At any rate 
you will not have to figure it out by 
rule. Almost without conscious effort 
you'll see the photographic possibili- 
ties of the scene and sense the best 
angles from which to shoot it. 

After that you won't need books on 
composition. You can be your own 
authority. Then, having mastered at- 
mosphere and composition, you are at 
last equipped for the making of photo- 
graphs. Let us go on to making 

This is going to be harder and will 
perhaps take longer, but it is going to 
be even more worth while. In the be- 
ginning the amateur is content with 
mere motion. If the picture shows peo- 
ple moving around, that's enough. But 
the man who is forever content to 
make merely photographs is not going 
to get much out of his camera. The 
real reward comes in making pictures; 
in putting soul into one's photographs. 

Perhaps you read, some time ago, 
the story of the negro butler in Chi- 
cago who was eager to get a picture 
of the Twentieth Century Limited 
coming into the station. He had only 
one day off a week but each holiday 
found him at the station waiting for 
the train. At last he got just what he 
wanted. The two sections of the crack 
flyer came rolling in, almost together. 
He pressed the button and secured 
what had been in his mind's eye for 
months. His long hours of waiting 
had been rewarded with a picture as 
artistic as anything an artist could 
conceive. He ivas an artist, else he 
could not have achieved that compo- 
sition. He was willing to wait until 
his camera could register precisely 
what was in his mind's eye. 

Last summer a man went on his va- 
cation with all the film he could carry 
and came back with every inch of it 
ready to go to the laboratory. He had 
indulged in a regular cinematic orgy. 
Yet he had only a few photographs 
and no pictures. 

One of his shots was a long cov- 
ered bridge, the old-fashioned bridge 
that is so rapidly disappearing. He 


got a very good reproduction of the 
bridge. Then he got a friend to take 
him through it in an auto. He had 
seen the same thing done in the movies 
Avhen a train goes through the tunnel. 
That shot of the old Haverstraw Tun- 
nel, by the way. was one of the earliest 
Biograph hits, along with The Twen- 
tieth Century Limited at Sixty Miles 
an Hour and The Fire Engines at At- 
lantic City. 

Probably a lot of his friends are 
going to rave over the shot as the car 
enters the bridge and the spot of light 
at the far end gradually enlarges until 
the car is again in the open. It's a 
fair photograph but it isn't a picture. 
The second week of his stay another 
camerist came along and number one 
generously proceeded to give the new- 
comer the benefit of his experience. 
Of course the bridge was one of the 
first spots to which he was taken. The 
new man took a look at one end, went 
through and regarded the other. Then 
he turned to his companion. 

"The west end is better." he said. 
"I think I'll shoot it about half past 
eleven tomorrow."' 

"Aren't you going to do it now?" 
was the amazed question. 

The other shook his head. "Light s 
not right," and with that he retraced 
his steps over a dusty mile and a half 
without having shot an inch of film. 

The next forenoon he was back. The 
sun was far enough over head to give 
illumination without shining directly 
on the weather beaten boards of the 
entrance. It glanced along the roof 
and side and threw only a slight 
shadow. Then a passing small boy 
was hailed with an inquiry as to 
whether he wanted to pose. Of course 
he did. Another ten minute wait re- 
sulted in an old-fashioned buggy 
coming along. Briefly the farmer was 
told what was wanted and he turned 
his rig and backed into the bridge. 

For about four seconds the camera 
ground on the bridge, giving the eye 
time to get the details, then the small 
boy came down the road, carefully 
ignoring the camera. The buggy fol- 
lowed and the farmer paused, ap- 
parently offering the boy a lift. The 
lad climed into the empty seat and 
they drove into the dim obscurity of 
the bridge. It was less than thirty 
seconds, but it was a miniature story 
and it meant something. 

Of course you can't stop to stage a 
play for every shot but almost always 
you can put some story element into 
your composition. 

Suppose you want to take a picture 
of the family dog and also want to 
add the dog house because you made 
it. You can put the dog in the door 
of his house, shoot head on and get a 
nice view of the house and a couple 

of square yards of the concrete garage 
on the back lot. On the other hand, 
vou can move around until a back- 
ground of lilacs is secured in exchange 
for the concrete blocks, by selecting 
the time of day when the lighting is 
just right. Compose the dog in the 
doorway, start the camera and sud- 
denly produce a cat, making sure, 
however, that the dog is on a short 

First your picture will show the 
pup peacefully dozing, then suddenly 
he sees something and lunges violently 
at the camera. If it were not your dog, 
which of the two shots would you 
rather look at? Of course! The sec- 
ond shot is a picture. If it is your 
own cat, you can shoot at a different 
angle and have her come in and steal 
the dog's bone, which unfortunately 
is just out of his reach. Perhaps the 
cat won't care for the bone but if you 
let her see that there is some cream in 
the bottom of the dish, you'll have no 

trouble with stage directions. 

One father makes a picture of his 
very new baby every week. Instead of 
just running off a few feet of film, he 
tricks the pose. One week to the in- 
fant's amazement he burst a paper bag 
back of the camera. Another time he 
caught a pigeon and let it fly up from 
behind the camera. Again, a jumping 
jack produced a pleased smile. A 
bottle taken away and restored just 
after the picture started was a delight. 

The result is that each section of the 
growing film offers diversity instead 
of presenting succeeding shots of a 
rather dumb looking infant. They in- 
terest others, as well as the proud 
parents, because they are more than 
merely photographs. 

The real cinematographer gets his 
enjoyment out of making pictures, not 
from merely taking photographs. Get 
into the top class and be a picture 
maker through study and practice! 



ATM*- I«2» 




^^lii^ri^^H r 




1^ -aMPI^^Hl" 



k^ iSsk 



Advice for Beginners on Exposure, Focus. Reflectors and Tripods 

IT is surprising how easy it is to 
improve your movies if you are 
willing to give the subject a little 
time and serious thought. If you want 
pictures to be above the average run 
of movies you must do more than aver- 
age work when taking them. The 
movie camera has been carefully de- 
signed so that practically no technical 
knowledge of photography is neces- 
sary to get results. Doubtlessly you 
were surprised on projecting your first 
reel. You hadn't realized how easy it 
was to make movies! However, once 
the novelty wears off. you begin 
to wonder if it isn't possible to make 
your pictures better, not only dramati- 
cally but also photographically. No 
matter how elaborate or refined, a 
camera cannot give exceptional re- 
sults unless it is used intelligently. 

The first essential in motion picture 
photography is an understanding of 
the proper lens setting to give the film 
the correct exposure and the subject 
of exposure seems to give the most 
trouble. Unless you are an experi- 
enced photographer and a good judge 
of light conditions you should own 
some sort of exposure meter or chart. 
Select any make that appeals to you 
and then stick to it. By doing a little 
systematic testing you will quickly 
learn any variations in the reading 
of your particular meter. The matter 
of the personal equation enters into 
the use of any exposure meter, as no 
two people see things exactly the same 
way. It is, therefore, recommended 
that your meter be tested against 
such results. 

By H. Syril Dusenbery 

To test an exposure meter take an 
average scene, such as a street, and 
determine the lens setting with it un- 
der the given light condition. Jot this 
down in your note book for reference. 
Now shoot a few feet of film with this 
recommended exposure. Change your 
lens setting to the next larger opening 
and shoot a few more feet. Finally, 
close your lens to the next smaller 
setting below that suggested by the 
meter and again shoot a few more feet. 
Make notes of exactly what you have 
done. When the film is projected on 
the screen you can quickly decide 
which of these three shots appears 
best and, by referring to your notes, 
you can see how the setting of the 
camera compared with that recom- 
mended by the meter. It may be that 
you are in the habit of reading your 
meter too high or too low. This test 
will show you at once. It is well to 
repeat it under different light condi- 
tions and with several different types 
of subjects. While reversible film has 
very great latitude, a little careful 
testing will demonstrate that there is 
a very definite lens setting that gives 
the best screen results. In this way 
you will quickly master the subject 
and your exposure troubles will van- 

Unless your lens is of the fixed fo- 
cus type, the matter of correct focus 
is the next factor that should be given 
careful attention. Needle sharp pic- 

tures can only he obtained by accur- 
ate focusing. While errors in exposure 
can often be corrected by chemical 
treatment of the film, there is no way, 
as vet. to correct the focus if it is not 
properly set at the start. All focusing 
lenses have a definite setting for "uni- 
versal focus"' that is excellent for 
rough, quick work, but if you envy 
the clearness of the professional pic- 
ture vou should take the time to focus 
each scene carefully. With subjects 
near the camera and with closeups it 
is best to actually measure the dis- 
tance with a tape line. In the studios 
of Hollywood all the camera men do 
this unless they are able to focus di- 
rectly on a ground glass through the 
lens of their camera. A tape measure 
is a very useful accessory. A fifty 
foot tape should be part of every 
movie maker's equipment. As a con- 
venient substitute for the tape line, a 
range finder or focusing device may 
be employed. If you are anxious to 
improve the clearness of your pictures 
it would be well to learn how to esti- 
mate short distances by eye. This is 
not nearly so difficult as it might ap- 
pear. In fact, with a little practice, it 
becomes quite easy. Measure off on 
the ground such distances as eight, 
ten and twenty-five feet and get to 
knew just how these distances appear 
to the eye. Make a mental picture of 
them in your mind. Practice guessing 
a few distances and check them up 
with your tape measure. If you do 
this a few times you will soon become 
able to estimate distances quite ac- 


The finder on your camera will also 
help you to establish distance. You 
will discover that when a person of 
average height just fills the finder he 
is a very definite number of feet away. 
By measurement, learn how far this is 
with your particular camera. You 
can also standardize on other objects 
such as lamp posts, telegraph or trol- 
ley poles and the like. If vou jot down 
these various distances in your note 
book or memorize them, you will find 
them a great aid in setting the focus 
of your camera. With the ordinary 
lens it is not necessary to focus on 
objects beyond one hundred feet. On 
the other hand it is of utmost impor- 
tance that all closeups be focused ac- 
curately. A slight error in a closeup 
will throw it completely out of focus, 
whereas a similar error in a long shot 
will pass unnoticed. Take time to fo- 
cus every scene and you will have 
nothing to regret. 

To improve outdoor portraits, re- 
flectors should be used. Their pur- 
pose is to direct the light into the shad- 
ows which would otherwise photo- 
graph so dark that the details would 
hardly be discernible. Reflectors are 
considered indispensable in all pro- 
fessional work. No producing com- 
pany would think of leaving its re- 
flectors behind when it went out on 
location. Reflectors are so simple to 
make and so easy to use. They im- 
prove the photography to such a 
marked degree that every movie maker 
should provide himself with several. 
The best material to use is wall board. 
A sheet about two by four feet should 
be mounted on a lieht but well braced 

wood frame to insure rigidity. Two 
such frames may be hinged together 
so that when opened out flat a reflect- 
ing surface four feet square is ex- 
posed. This surface should be given 
several coats of a good grade of white 
paint. To reflect a soft difi'used light 

Photograph by Fox. 



a flat, dull finish paint is recom- 
mended. For a harsher and more bril- 
liant reflected light, the final coat 
should be a glossy white enamel. Tin 
foil is also sometimes used to give a 
verv strong reflected light. 

When using reflectors remember 
that it is their purpose to illuminate 
the detail in the shadows. It is neither 
necessary nor desirable to attempt to 


Photograph bv Melro-Gotdwyn-Maser 

eliminate the shadows entirely. Re- 
flectors should be used to lessen the 
strong contrasts between the high- 
lights and the shadows. The more in- 
tense is tlie direct light on one side 
of the subject, the more necessary it is 
to use reflectors to illuminate the other 
side. Thev are especially useful when 
making a closeup of a person wearing 
a large hat or standing in a shaded 
doorway. A little light reflected into 
the shaded face will bring out the 
features to a surprising degree. The 
untrained eye may not detect the dif- 
ference brought about by the use of 
reflectors, but the sensitive film in the 
camera will. The only reason that re- 
flectors have not become more popu- 
lar with the amateur is because they 
are not always easy to transport, due 
to their size. However, if you seri- 
ously want to improve your pictures, 
you will make use of reflectors wher- 
ever possible. 

While the modern amateur camera 
is particularly designed to eliminate 
the tripod, nevertheless, the secret of 
rock-steady pictures is to use one. If 
your pictures vibrate or sway when 
projected, by all means get a good 
tripod. This has been emphasized 
many times already. All serious work- 
ers use tripods. 

Of course, if you are satisfied with 
your present results, the suggestions 
offered here will seem irrelevant. The 
professionals and painstaking ama- 
teurs realize their importance and will 
vouch for them. You will make no 
mistake in giving them a trial. You 
will immediately see how they im- 
prove your results. 


>%K>RH_ 1929 


Edited by Russell C. Holslag 

System in Editing 

THE amateur film editor ap- 
proaches his task for the first 
time fired with optimism. He 
projects his film just as it came from 
the finishing station, then he proceeds 
carefully to cut it into its component 
parts. Each of these parts he winds 
into a tight little roll around which he 
attempts to snap a heavy rubber 
band. In the ensuing struggle, the film 
usually wins. Then it occurs to him 
to wind each strip into a looser roll 
and fasten the ends with a paper clip. 

This he finds a distinct improvement 
but by this time all the rolls are nicely 
mixed up and he discovers he must 
spend much valuable time peering at 
the little pictures in order to re-iden- 
tify his scenes. Much of his optimism 
has now waned. 

The moral is: save your energy for 
the actual editing, in itself a most fas- 
cinating task. Identify your sequences 
beforehand, either by placing small 
gummed stickers on the film itself, 
directly it has passed through the pro- 
jector, or by clipping some sort of 
descriptive tag on the small roll as 
soon as it is cut off. A tentative ar- 
rangement of sequences may then be 
made: the mind will grasp the con- 
tinuity as a whole, and a logical and 
more actually creative editing of the 
film is likely to result. 

Members of the League have from 
time to time contributed valuable sug- 
gestions from their experiences along 
this line. Mr. A. K. Coomeraswamy, 
of the Museum of Fine Arts, Boston, 
Mass., finds his editing problems 
solved by the use of small circular 
pill boxes into which the coiled-up 
films are slipped. The title of each is 
written on the outside of the box in 
pencil . When the films are spliced the 
pencil titles are erased and the boxes 
used over again. 

"I use egg boxes for holding the 
footage to be edited," writes Mr. O. D. 
Ingall of Nantucket, Mass. "I wind 
the strips of film, slip them in the little 
divisions and drop in a small piece of 
paper describing the scene. Each full 
box contains a major division, for ex- 
ample: 'Family,' 'Around Town.'" 

Mr. R. P. Barrows of the Barrows 
Radio Laboratories, Portland, Me., 
adds the following idea, which is use- 
ful as a finishing touch to the edited 
reel : '"I splice a white leader strip at 
the beginning of each reel and a black 
trailer strip at the end. In this way 
the operator can tell at a glance 
whether his film has been rewound. 
The black trailer also allows the pro- 
jector to be stopped or another pro- 
jector started without that disconcer- 
ting white flash which spoils the effect 
if allowed to occur at the end of the 

Ideas like these are the unseen fac- 
tors which contribute to the interest 
and merit of your work. By all means 
adopt the attitude of mind which 
prompted these ideas, which recog- 
nized the value of system. At the very 
least you will save yourself much 

Two C's in Season 

VVJHY not let your handling of bor- 
'^ rowed films be governed by the 
two C's — Caution and Courtesy? We 
say this with reference to films loaned 
by one amateur to another as well as 
to those of the Club Film Library, 
which usually receive excellent treat- 
ment. However, from time to time a 
film is returned to it in two or more 
pieces when it was originally sent out 
in one. Sometimes even the simple 
courtesy of re-winding is overlooked. 
May we therefore urge caution in 
handling and projecting borrowed 
film and courtesy in returning it in 
its original shape? If a splice ac- 
cidentally does pull apart while pro- 
jecting, and the borrower is unable to 
re-splice, he should enclose with the 
returned film a short note indicating 

the nature and extent of the damage. 
Please do not return film joined to- 
gether with paper clips, hairpins, or 
bent pins. We already have ninety- 
eight per cent cooperation in this mat- 
ter. May we ask for the other two 
per cent? 

Tariff Appeal 

THE president of the Amateur 
Cinema League and the managing 
director recently appeared before the 
Ways and Means Committee of the 
House of Representatives, which is 

now engaged in drafting new tariff 
legislation for the coming special ses- 
sion of Congress. They presented a 
brief to the Committee on behalf of 
the League and of amateur movie 
makers in general, asking that the ex- 
isting tariff assessed on amateur mo- 
tion picture films made abroad on 
American raw stock be removed. This 
brief is designed to request Congress 
to give amateur movie photographers 
the same privileges now enjoyed by 
amateur still photographers. The brief 
contemplates that this remission of 
tariff shall apply only to those motion 
pictures which are brought into this 
country, made on American film and 
not intended for commercial exhibi- 
tion or for sale. The request is sim- 
ple, the situation is one that mani- 
festly calls for relief, the representa- 
tives of the League were extended a 
most courteous hearing and there is 
every reason to believe that Congress, 
in its wisdom, will grant this request. 

Extending the Field 

THE ever- widening variety of uses 
to which the amateur cinematog- 
rapher may put his hobby is well ill- 
ustrated by the activities of Mr. Ern- 
est G. Clark, President and Treasurer 
of the Clark Orchestra Roll Co. of De 
(Continued on page 252) 

■«. ■" R » 


Row a Great Ballet Master Relies on the Cine Camera to Teach 
and Preserve His Art 


N this mechanistic age when the 
precision of the machine and the 
high standard of efficiency and 
economy resuhing therefrom influ- 
ences practically all forms of human 
endeavor and particularly art, that 
most perfect form of human accom- 
plishment, it is not surprising that a 
machine, the camera, should be em- 
ployed effectively in capturing and 
holding for analyzation the most fleet- 
ing of art forms, the dance. 

This highly practical use of slow 
motion film is the method employed 
by Ivan Tarasoff^, internationally fam- 
ous ballet master, in teaching tech- 
nique to the members of the National 
Dancing Masters' Association, them- 
selves experts in the intricacies of 
Terpsichorean requirements. For, as 
Mr. Tarasoff explains, when a dancer 
on exhibition executes the routine of 
a ballet, the rapid expansion and con- 
traction of muscles in movement is 
too fast for the human eye to follow. 
This same routine, however, photo- 
graphed in slow motion by means of 
the motion picture camera, becomes, 
on projection, a series of separate and 
distinct movements, rising and falling, 
a revelation of balance, poise and all 
the various rhythms that go into the 
creation of the dance. Seen as such, 
they may be dissected and discussed, 
the knowledge thus gained to be im- 
parted later to students beginning the 
study of muscular control and the 
other technical problems of their art. 

To Mr. Tarasoff must go the credit 
of discovering this latest possibility 
of the camera. A Russian by birth 

By Louis M. Bailey 


Fholograpfii by Victor Animatograpfi CompiDiy. 




and former instructor of the Diag- 
hiliev Company, he has also always 
been an ardent amateur photog- 
rapher. As member of the Moscow 
Photographique Societe he was fre- 
quentlv prize winner in European 
exhibitions. Stereoscopic cameras. 
Lumiere color plate, each new de- 
velopment in the photographic field 
found him interested and enthusias- 

Quite naturally, then, the introduc- 
tion of amateur cinema equipment 
was of immediate importance to this 
versatile artist as it brought within 
the realm of the experimenter all the 
alluring beauties of motion pictures, 
as well as technical possibilities 
which previously called for the more 
complicated and expensive profes- 
sional equipment. 

In discussing the technique of any 

art there arises that age old platitude, 
form versus the idea to be expressed. 
But without technique, or a pattern 
of expression, the idea never becomes 
intelligible, and to become intelligible 
in his conception of beauty, project- 
ing it so that others may share his 
insight, is precisely what the artist 
strives to achieve. In dancing, as in 
every medium of expression, 
whether it be literature, paint- 
ing or photography, the rules 
must be mastered first. Once 
learned, they may be disregarded at 
will in creating the greatest effect. 
And very often the most perfect re- 
sult is secured by breaking the rule. 
But only from the artist, fortified in 
his ability to surpass the rules, can 
great art arise, for he has learned that 
technique is very important — to be 
surmounted. It is in teaching the tech- 
nique of the dance that Mr. Tarasoff 
has emploved the amateur camera 
with such effect, as a list of his pupils 
will readily support. Mary Eaton, 
Ada May, Louise Brown, Harriet 
Hoctor. Barbara Newberry and a host 
of other Broadway favorites are the 
product of his methods. Wherever 
Mr. Tarasoff's films are shown, a 
group of fascinated spectators learns 
something of the art which has made 
both teacher and pupils famous. 

Another use of the camera encour- 
aged by this famous master is record- 
ing on film for posterity the fugitive 
and transitory beauty of the dance as 
executed by Pavlowa. for example, 

{Continued on page 265) 




>%PIUL 1929 



Ten Suggestions for Making Group Pictures that Are Screenable 

SOMETIMES the ownership of a 
movie camera brings its re- 
sponsibilities. It's fun to be able 
to go around shooting everything you 
want, but now and then you have to 
shoot something you don't want. If 
you've never had to make "duty" pic- 
tures, vou are fortunate. And the hard- 
est to shoot are the groups. If you 
have any artistic feeling you hate to 
line up the graduating class of the 
high school, the dramatic society, the 
volunteer fire department, shoot a few 
feet of each and get precisely what any 
still photographer would have ob- 
tained. You feel that there should be 
more motion. That's what motion pic- 
tures are for. It can be done, with a 
little thought. 

For example, one ingenious artist 
was asked to take a picture of the high 
school graduating class. He had a 
daughter in that class and a son in the 
juniors. He didn't like to refuse. In- 
stead of a set group, he marched them, 
spaced about six feet apart, across the 
field of the camera and at the centre 
of the optical stage each made a bow 
to the lens. That took the curse off 
the stiffly posed line and the following 
year, when the boy graduated, he was 
able to further improve on this plan. 

He spent a couple of evenings with 
his son and on" the fatal day he was 
ready. Using a little more film gave 
each member of the class a solo. The 
captain of the baseball nine was in 
uniform and paused to swat a home 
run, the ball being thrown in from 
outside the camera lines. The girls of 
the basketball team came on as a 
group and tossed the ball, while the 
star of the track team breasted an 
imaginary tape. 

Where there was no other distinc- 
tion some personal touch was given. 
A decidedly plump girl who blamed 
the confectioner for her troubles 
crossed the stage with a five pound 
box of candy which she proffered the 

By Epes W. Sargent 

imaginary audience, and a boy wliose 
first adventure in smoking had been 
almost a class scandal in his freshman 
year puffed on the biggest cigar to be 
obtained. A girl who was notoriouslv 
proud of her ankles paused to hitch 
up her rolled stockings, and the class 
bookworm stumbled across engrossed 
in a volume until someone appar- 
ently yelled at him to take a bow. 


When shown to the class, the produc- 
tion was voted "a riot." 

Another camera worker with a 
similar problem was more ambitious. 
He planned to make the picture in- 
doors and fitted up an easel on which 
he placed a "canvas" about three by 
four and a half feet. This was made 
of one by two-inch lath on which a 
sheet of white paper had been tightly 
pasted. In order to secure paper with- 
out a seam or crease, he got the local 
newspaper to let him have a piece 

from the end of one of the big rolls 
used in a web press. This was thor- 
oughly and evenly dampened before 
being placed on the frame. In drying 
it shrank tightly. A drapery on either 
side was used to conceal the back- 

An irregular opening was made in 
this "canvas" behind which the class 
members were posed, one by one. Two 
lights were used on one side of the 
sitter and one on the other while the 
backing was lighted by two 100-watt 
lamps to kill the shadows. 

Each pose was properly lighted for 
that particular sitter and two feet of 
fully exposed negative were made 
with another foot on either end faded 
in and out by passing a graduated 
strip of glass in front of the lens. 
There were forty in the class and each 
posed by appointment, the work 
stretching over five nights. In assem- 
bling, the individual poses were joined 
and on projection the faces seemed 
to fade in and out of the canvas, the 
change-over having been made as soon 
as the fade was properly indistinct, 
but not entirely black. Carefully 
made, the effect was very good. 

It worked so well that the""artist is 
planning a variant. He is going to 
make his canvas of builder's board, 
to stand harder usage, painting the 
surface dark and cutting an oval hole 
large enough for the average face. An 
artistic friend is going to make char- 
acteristic bodies for the faces of the 
members of his club, changing the 
body for each face, a device similar 
to that used in post card galleries. He 
plans to use only a foot and a half 
for each subject, with no fades. 

One unfortunate camerist was 
coerced by his wife into taking an en- 
tire baby show, staged by a better 
babies club. There were thirty-nine 
babies in the group, each under two 
years of age. He had seen the news 
reels and decided that he would not 

niO^'lE IM/«KERS 

simply pass "down the line." His 
young son frequently acted as his aid 
and he was pressed into service. 

Standing in front of the first baby, 
his son blew up a paper bag and burst 
it. The look of surprise that was one 
second ahead of the yell was filmed. 
A two-year-old was handed a watch 
(a dollar one) and intrigued by the 
ticking. Another child was offered a 
bit of candy and shot just as his baby 
hands reached out for the coveted 
morsel. One young man of nine 
months got his bottle, while another 
had his taken away just before he 
had his moment before the lens. A 
ten cent "cat cry" proved worth more 
than the dime, and a balloon dangled 
just behind the camera won a picture 
in which the child followed the weav- 
ing gas bag with fascinated gaze. 
Later it was given another baby to 
clasp in her pudgy arms. There were 
thirty-nine pictures to be proud of 
when the job was done, but the thing 
whichbroughtthe most joy to this cine- 
maker's heart was the fact that not a 
single child was shown in a bathtub! 

A fancy dress ball, an annual event 
at a country club, had always been 
interrupted by a professional photog- 
rapher who made the usual stilted 
poses. Last year the professional was 
displaced by a capable amateur, who 
was on the entertainment committee. 
He borrowed several lights to supple- 
ment his own and in an ante-room 
staged a series of tiny dramas. A monk 
gave a most un-monkly kiss to a pert 
milkmaid; a pirate wrote his name on 
Columbine's dance program; two 
ladies of the Empire discussed Na- 
poleon behind their fans and a clown 
laughingly parted Romeo and Juliet. 

The reel not only gave distinction 
to the next monthly entertainment, but 
enlargements, made by a professional, 
yielded a profit which was turned over 
for tournament prizes. 

The same man, when asked to make 
a group photograph of the club, split 
the group into units. He made some- 
thing more than a picture, with a no- 
torious duffer laboriously excavating 
himself from a sand trap, a foursome, 
famous as "The Noisy Four," in a 
heated argument on one of the greens 
(snapped without their knowledge), 
Jimmy Howell driving up in his 
sporty-looking roadster followed by a 
motorcycle cop with a summons, the 
tennis courts in use, the swimming 
pool, a couple of porch parties, the 
big fireplace in the lounge with a 


group of "winter golfers" re-living 
their summer triumphs, the official 
"kabitzer" superintending a pinochle 
fight, and similar characteristic shots. 
It showed every phase of club life, 
which was what the Board of Govern- 
ors had asked for, but it broke up the 
monotony of straight scenic shots. 




Much the same thing was done by 
another man at a picnic. He filmed all 
the joys of picnicing from the ants in 
the butter to the man who sat in the 
pie. The pie was a plate filled with 
paperhanger's paste and the predes- 
tined victim carried along an old pair 
of white ducks. For camera use, a 
huckleberry pie probably would have 
been even more effective. It could 
have been made out of sponge or cot- 
ton soaked in purple dye. An extra 
suit was also carried for the small boy 
who fell in the brook. 

Another and smaller group was 
made into a hall of fame by moulding 
a pedestal on a board and letting the 
various subjects pose head and shoul- 
ders above the base. A black backing 
was used and black cloth over the 
bare shoulders brought the subject 
squarely onto the pedestal. Faces and 
liair were made up in white and the 
lighting was largely from overhead 
to bring out the details. It was a lot 
of trouble but a novelty. In trying it, 
be careful to powder heavily to kill 
the greasiness of the cold cream foun- 
dation or there will be halation. 

Another novel idea was used to film 
a dozen people starting on a railroad 
trip. Instead of posing them on the 
observation platform or in front of a 
car, each person was placed in one 
of the opened windows of a day coach 
and a continuous shot made as the 
train slowly pulled out, the camerist 
swinging aboard the rear platform. It 
made a surprisingly good effect and 
required no more effort than borrow- 
ing the car windows from the day 
coach passengers, since the double 
Pullman windows were too awkard. 

All of these stunts require more or 
less ingenuity. However, if it is only 
necessary to satisfy a crowd you do 
not care about, just mass the group, 
shoot and forget it. 

;%■■■«■■_ 1929 


A Delightful Tale of Cine Conquests in the Land of Revolutions 

MEXICO rates ace-high with 
me as being most colorful of 
all the countries between the 
United States and Panama. It was 
my first love, so to speak, and therein 
was gained my first experience with 
a motion-picture camera. 

I suppose, obviously, the first rule 
for any amateur photog- 
rapher is that he must 
learn what to take and what 
not to take. It sounds sim- 
ple, but in a country like 
Mexico it has its complica- 
tions. I was fascinated by 
the picturesque harbors of 
such places as Manzanillo, 
Guaymas and Mazatlan, and 
ground out a large amount 
of footage of them — only 
to find, of course, that shots 
taken at long distance and 
from the undulating deck of 
a ship merely gave, when 
projected, a vague seasickish 
view of a dim, uninteresting 
shore line. 

And how intriguing were 
the jungles and the dense 
green groves of banana 
plants and cocoanut palms! 
Perfectly gorgeous to the 
eye — but I found to my dis- 
may that the projector an- 
nounced "no sale" when I 
got them home. There was 
not enough contrast. 

Mexico being the most 
fascinating country in the 
world because nothing ever 
happens in the expected way 
except the unexpected, the 
amateur photographer may 
even have the experience of 
facing a jail sentence from 
behind the finder of the 
camera. No one will tell you on get- 
ting your passport vised that cam- 
eras are not supposed to be permit- 
ted in some parts of the country — 
though in most places, of course, they 
are. However, at Manzanillo, one of 
the ports of debarkation for the west 
coast, they are positively prohibited. 
Personally I can't blame the authori- 
ties there for the ban, for of all the 
filthy holes in the wide world, Man- 
zanillo certainly takes first prize. 
But it is hard to be faced with such 
a prohibition when one is merely 
^passing through the town as quickly 
as possible to get into other parts of 
Mexico where a camera, far from, 
being "prohibido," is welcomed. 

I still don't know how I got my 
camera through the customs at Man- 

By Emma Lindsay Squier 

Author cf "Bride of the Sacred Well" 

zanillo. Perhaps my supreme inno- 
cence and ignorance of the ruling 
put a spiritual camouflage around 
the instrument. At any rate, I went 


:tlc Pirate Does His 
Only for a Fei 

brightly around the town shooting 
scenes of the Indian market and of 
the "mariache" singers, those wan- 
dering minstrels of Mexico who, 
with their primitive harps, guitars 
and violins, keep alive the lovely 
unpublished music of that southern 

But imagine my horror, several 
months later when I heard the ru- 
mor that a law had been recently 
adopted forbidding undeveloped 
films to go out of the country! The 
penalty for any evasion of this law 
was said to be confiscation of films 
and camera, the imposition of a fine, 
and, very probably, a sentence in a 
not overly-clean Mexican jail! I was 
in a terrible state of mind for I had 
paid for the development of my films 

in the States, and the only place in 
Mexico equipped to do this kind of 
work was in the capital, at which I 
touched only briefly in my wander- 
ings, preferring to spend my time in 
the less tourist-infested parts of the 

Naturally, I was in a ferment and 
so were all my friends. We 
considered one idea after an- 
other, discarding each in 
turn. I got letters from the 
Gobernadores of various 
states, expatiating in detail 
on the cultural advantages 
of the films I had taken and 
how they were intended for 
use in the schools of Los 
Estados Unidos. But I knew 
— and so did everyone else 
— that no letters from any 
Gobernador whomsoever 
would get by an underpaid 
customs ofiicer, whose deficit 
in salary is rumored to be 
made up in graft from the 

Finally in desperation I 
simply packed my camera 
and films in the trunk, mak- 
ing no attempt to hide them 
— although of course they 
were covered with a certain 
amount of clothing. I came 
out of Mexico just a half 
jump ahead of the worst 
floods they have had there in 
years, with the train crawl- 
ing along for miles on rails 
that were under water, ex- 
pecting at any moment to be 
bumped off into a ditch, and 
going at a sick snail's pace 
across bridges that were 
known to be unsafe but 
wouldn't be condemned until 
they had crashed with a train on top 
of them. 

So, what with the floods, and won- 
dering what a Mexican jail would 
feel like from the inside looking out, 
I don't think I took a really good 
breath until a most affable young 
Mexican at the Jaurez border opened 
my trunk, slammed it shut, and af- 
fixing the custom seal bowed me out 
of the ofiice. All my worrying for 
nothing! But then, that is Mexico. 
What you expect never happens. 

I should explain in passing that the 
Mexican authorities in this country, 
on inquiry, report that there is no 
such ruling at this time. On the 
occasion of my visit it was rumored 
to have been enacted because of the 
use our film companies once made of 


Mexicans for heavy villainy and the 
dirty work of western pictures. 

Such a retaliation would, of course, 
have fallen most heavily on the in- 
nocent by-stander, who has no in- 
tention of filming anything under- 
hand. It is ever thus: the Cabal leros 
shooting at each other in an election 
brawl usually manage to wing a 
couple of passing pedestrians, a dog 
and a buzzard. I 
once saw a '"carga- 
dor" (a baggage 
porter), get eleven 
shots in the chest 
by carelessly taking 
refuge in a doorway 
near which two po- 
litical opponents 
were having an ar- 
gument with bullets. 
The Mexican peo- 
ple, for the most 
part, are naively de- 
lighted by any kind 
of a camera, and 
will pose or go 
through any action 
that the amateur 
photographer di- 
rects. My chief 
difficulty was in ex- 
plaining to them 
that they could 
move while I was 
taking the picture. 
When I was filming 
the henequen indus- 
try in Yucatan — 
henequen being a 
variety of the cen- 
tury plant, from 
which we make practically all of our 
binder twine — the natives would stop 
beside the huge jagged-leafed plants, 
their machetes upraised for the cut, 
and then would hold the pose, turn- 
ing to me a rigid "camera-smile." 
In Colima. where I was photograph- 
ing the cutting of pineapples, it was 
the same. It took all of my limited 
Spanish persuasion, plus the expert 
direction of a sophisticated Mexican, 
to make the peon in his picturesque 
sombrero and serape go ahead with 
his work. The man was entirely 
willing to pose for his picture, but 
according to his simple standards it 
was impossible that one could have a 
picture taken and move at the same 
time. He kept saying plaintively, in 
Spanish, of course. "But if I walk, 
the picture will not serve!" ("No sirve 
el ratrato!"). 

I think the most beautiful "shots" 
I got in Mexico were those of the 
floating gardens at Xochimilco, near 
Mexico City, those wonderful ancient 
areas of "hand-made ground" an- 
chored by tree roots and cables, and 
planted with everything from cab- 
bages to carnations. The pictorial 

qualities of this place are most al- 
luring. You embark in a long native 
flat-bottomed boat, garlanded with 
spicy carnations and jasmine and 
gardenias, and are poled by a smil- 
ing boatman down long, fragrant 
lagoons of verdure. He will stop the 
canoe so that you can take pictures 
of the passing Indian dug-out 
"canoas" with their picturesque 


The Author Is "Floating Down Their 

Lagoons of Verdure." 

families, or at the flower boats where 
you can buy an arm-load of most 
gorgeous blossoms for ten centavos 
— five cents, American money — or to 
hail passing musicians who, for a 
few cents, will trail along beside 
your boat, playing and singing any 
number of songs for your delight. 

Having an eye to the educational 
features of the camera, I made a 
point of shooting as many industries 
as possible, so that I came back with 
the workings of a panocha factory 
on the celluloid strips (panocha is 
the unrefined brown sugar made 

from cane, used by confectioners), 
the henequen industry of Yucatan, 
and varied glimpses of Mexico's ex- 
ports, such as cocoanuts. pineapples, 
bananas, green tomatoes, pottery and 

The most interesting pictures from 
my own angle were the ones I took 
of the ruins of the sacred city of the 
Mayas, Chichen-Itza, in Yucatan. 
Although here, as in most tropical 
countries, I was distressed by the 
sudden changes of light, the blind- 
ing white of the sun, the impenetra- 
ble shadow of the jungle, and the at- 
mospheric uncertainties of the rainy 
season when the light can change 
sixty times to the hour. 

My most thrilling experience in 
amateur photography was in a snake 
pit at Tela, Spanish Honduras. I 
went down into the inclosure where 
there must have been two hundred 
or more of the most poisonous 
serpents of the trop- 
ics: the Central 
American rattler. 
tlie fer de lance and 
the deadly scarlet 
corali. I was terri- 
bly afraid — not of 
the snakes — but that 
the light in the 
roofed pit would 
not be sufficient for 
my filming. It was, 
however, and I 
brought home a nice 
shuddery reel of 
squirming reptiles, 
and of me poking at 
them with a stick to 
make them perform 
a little better for 
the camera. The 
reptiles are col- 
lected at Tela for 
the purpose of mak- 
ing an anti-toxin for 
snake bite from the 
poison in their 

The picture that 
was most trouble- 
some to take was 
that of the Huichol 
Indians. These sav- 
age, Mongolian-looking aborigines 
were never conquered by the Span- 
iards. So there is a four hundred 
year old treaty that provides for 
them as "guests of the government" 
when they come into Guadalajara 
once a year. Only one of them 
spoke Spanish, the others using their 
own gutteral jargon. It was very 
difficult for me to explain that I 
wanted them to move: to dance, and 
to play the instrument indigenous to 
their tribe — which, ruriouslv enough, 
is a small, crude fiddle with wire 
(Continued on page 249) 


Long Fragrant 

AI>IKH- 1929 


New England Challenge 

AS per schedule, the inevitable 
has happened. The spirit of 
competition has entered ama- 
teur cinematography. 

At a recent meeting of the Hartford 
Amateur Movie Club it was evident 
that some of the members harbored, 
more or less secretly, an idea that they 
could make pretty good motion pic- 
tures. Through the columns of MoviE 
Makers they had been noting for 
some time that amateurs in other parts 
of the country seemed to think that 
they also could make pretty good mo- 
tion pictures. Forthwith, the question 
arose, whose are the best? 
Having arrived at this 
state of things it was but 
natural for our Club Opti- 
mist, a rather rash person, 
to suggest that the Hart- 
ford Club find out. And 
thus it came to pass that at 
the next meeting it was 
voted to conduct a contest 
to determine the best 16 
mm. amateur color pic- 
ture, the best 16 mm. ama- 
teur photoplay and the 
best 16 mm. amateur gen- 
eral film. 

After much discussion, 
during which the Club 
Pessimist had a good bit to 
say, it was decided to pro- 
ceed with at least a sem- 
blance of caution. In or- 
der to protect the good 
name of Hartford, in the 
event that the Club Opti- 
mist was in error as to 
Hartford's amateurs, it 
was decided that we fortify 
ourselves with the best 
picture that the State of 
Connecticut could pro- 
duce. Since it was barely 
possible, though, in the 
opinion of our Club Opti- 
mist not probable, that 
there might be other ama- 
teurs in New Haven, Bridgeport, 
Greenwich, or other places in the 
state, who might know how to take as 
good pictures as ours, it was decided 
to hold a Connecticut State Competi- 
tive Salon. From this Salon will 
emerge the three best amateur films 
that Connecticut can produce. 

Arrangements are already well ad- 
vanced. Hartford has held one quali- 
fying salon at which several films 
were eliminated and three qualified 
for the finals. New Haven will have 
determined its finals by the time this 
gets into print. Shortly after, the state 

Neivs of Group Filming 

Edited by Arthur L. Gale 

finals will be held and winners named. 
The Executive Committee of the 
Amateur Cinema League has agreed to 
bestow its White Ribbon upon the 
winners. Immediately these three best 
Connecticut amateur films are de- 
cided, a committee representing all the 
Connecticut clubs competing will 
challenge the other New England 
states, with the object of "improving 

A Production Still from Picture Puzzles, Latest Film of the Mov 
Cleveland Photographic Society. 

the breed" before we step across the 
western border and thrown down the 
cinematic gauntlet to the State of New 
York. This will certainly be a bitter 
battle, for the great City of New York, 
with its thousands of amateurs and 
its enormous wealth, and the City of 
Rochester, hub of the photographic 
universe, are both in New York State. 
However, the best films will win, 
no matter who made them, and these 
will be used to challenge the rest of 
the country. All this will take months 
to work out but it will be worth it. 
We shall make many valuable friend- 

ships that we otherwise should never 
enjoy, we shall learn a lot. we shall 
have a lot of good fun and shall prob- 
ably startle the world with what the 
amateur can do in motion picture pro- 

The final national winners will be 
awarded the Amateur Cinema League 
Blue Ribbon, which will be something 
well worth having. With this warning 
it behooves you amateurs of the other 
states to tighten your belts and start 
getting ready. 

The rules adopted by the Hartford 
Amateur Motion Picture Club are as 
follows: 1. This Salon shall be open 
only to amateur clubs or 
individual amateurs; 2. 
there shall be three classi- 
fications of amateur films 
__ as follows: a. color film 

j j (not less than fifty feet) ; 

I i b. photoplay (not less 

than three hundred feet) ; 
c. general film (not less 
than two hundred feet) ; 
3. all classifications to be 
taken on 16 mm. film; 4. 
the color film to be scored 
as follows: photography 
— 50%, human interest — 
50%; 5. photoplays to be 
scored as follows: pho- 
tography — 35%, continu- 
ity — 25%, human interest 
— 15%, titling — 10%, 
acting ability and makeup 
— 15% ; 6. general film to 
be scored as follows: pho- 
tography — 50%, titling — 
25%, human interest — 
25% ; 7. there shall be not 
less than ten judges and 
they shall elect from their 
number three tellers who 
shall determine scores 
from the cards filled in by 
the judges; if any judge 
be a contestant he cannot 
iion of the votc On his own film but 
should vote on all others; 
8. in the event of a contest 
taking place between clubs there shall 
be an equal number of judges selected 
from each club. Hiram P. Maxim 

New York Organizes 

OVER five hundred amateur movie 
makers were present at the recent 
organization meeting of the New York 
City Amateur Motion Picture Club 
and over one hundred and fifty signed 
application blanks for membership. 
The New York City Club has made a 
flying start and a meeting place and 
programs will be provided for the 
thousands of Metropolitan camera- 

lOWIE M A ■« C R » 

Stephen F. Voorhees, \'ice-Presi- 
dent of the Amateur Cinema League 
and Chairman of the Sponsoring Com- 
mittee for the Club, presided at the 
meeting. The program was opened 
with a greeting by Hiram Percy 
Maxim, President of the Amateur 
Cinema League, followed by Dr. 
Raymond L. Ditmars, curator of 
Mammals and Reptiles of the New 
York Zoological Park, who talked on 
the value of a club for amateurs. The 
address of the evening was given by 
Dr. C. E. K. Mees, Director of Re- 
search of the Eastman Kodak Com- 
pany, on recent advances in amateur 
cinematography, including a demon- 
stration of Kodacolor. The program 
concluded with The Fall of the House 
of Usher, production of Dr. J. S. 
Watson, Jr., and Melville Webber, a 
portion of And How and excerpts 
from the films of animal life made by 
Dr. Raymond L. Ditmars. 

Dr. Ditmars was chosen president 
of the new club; Countess de Mon- 
tagny and James V. Martindale, vice- 
presidents, and Britten Runyon, sec- 
cretary-treasurer. With these, the fol- 
lowing were chosen to serve on the 
board of directors: Mrs. William Bar- 
clay Parsons, Jr., George Lister Car- 
lisle, Jr., J. Gerry Dobbins, Professor 
Carl Louis Gregory, Herbert C. 
McKay, P. G. B. Morriss, and Roy W. 
Winton, A. C. L. Managing Director. 

The New York City Amateur Mo- 
tion Picture Club will be a city-wide 
association, open to all amateurs in 
the Metropolitan area, offering period- 
ical meetings and interesting pro- 
grams. It is hoped that the club will, 
as it grows, provide facilities which 
are not at the present time available 
for individual amateurs and photo- 
play producing units. The club will 
be without social features but it will 
furnish opportunities and facilities 
for groups of congenial amateurs to 
gather, view each other's films and ex- 
change experiences. 

^mebody Seems to Be Plotting Something 
till from At Tout Service. Production of the 
City Amateur Movie Club of Rochester, h 

from this Current Production of the 

Club Magazine 

TN February the Philadelphia Ama- 
■'■ teur Motion Picture Club initiated 
a monthly club publication, Philly- 
grams. The excellently planned four- 
page magazine includes notices of club 
programs, personality notes and news 
of amateur film technique. It would 
be a creditable journal for a much 
older and larger organization. 

A late program of this leading ama- 
teur movie club included a screening 
of members' films, a talk by J. W. 
Robbins on new equipment, an open 
query period, a discussion of aerial 
photography by Virgil Kauffman, a 
talk on professional production meth 
ods by A. K. Mercbreier and the pro 
jection of professional motion pic 
tures. At an earlier meeting, Carl L, 
Oswald, representing the League, 
talked on lenses and answered tech 
nical questions for members. 

Members recently elected are 
Henry Breuniger, John J. J. Claby. 
A. A. Du Bran, Anthony H. Karker, 
Jr., and Philip H. Seamans. Members 
of this club are all subscribers to 
Movie Makers or League members. 

Chicago Meeting 

■VJEW methods of making enlarge- 
^ ' nients from 16 mm. film were 
demonstrated by Joseph Dubray, sec- 
retary of the Society of American 
Cinematographers, and E. A. Reeve of 
Bell & Howell related his movie expe- 
riences in shooting Colorado scenics, 
at the last meeting of the Chicago 
Cinema Club. Wheels of Progress, a 
travel industrial film, was recently 
screened for the Chicago amateurs. 

Before meetings club members 
gather informally for dinner and to 
discuss personal filming experiences 
at a restaurant that has been named 
the Movie Grill. 

(Continued on page 262) 

of Princeton Undergraduate Motion Piclun 
Invade a Laboratory. 

;«PRBL 1929 

¥' % 








Third of a Series of Practical Diagrams 
Bv Walter Martin 

Figure 9 illustrates the circle, which is the emblem of continuity and circular observation. Example a is a simple 
type of circular observation in the vertical plane. Example b is a similar but more complicated illustration. Observa- 
tion starts at the lamp, continues down the shirt front, across to the hands of the man on the left, up his sleeves to his 
face, over to the picture and back to the lamp. 

Figure 10 introduces the elhpse, or the circle on the perspective plane. Example a uses a lake to form the 
ellipse. Example b combines both vertical plane circle and the perspective ellipse. 

Figure 1 1 shows the line of curvature, which denotes grace, movement and variety. Example a employes a 
woodland sketch to illustrate this principle on the vertical plane. Example b emphasizes grace by the use of the 
vertical line of curvature. 

Figure 12 employes the line of curvature on the perspective plane. Example a denotes movement in its use 
of the principle. Example b utilizes the perspective curve for variety. 


Pholograph bv W'arrcn Buyer 

(HirtkB for tl|p CUtnpmatDgraptipr 

An Unusual Example of Circular Composition in the Vertical Plane 


i«PRKM. 1929 


The Passion of Joan of Arc 

IN Carl Dreyer's rendition of The 
Passion of Joan of Arc, produced 
by the Societe Generale de Films, 
both cinematic form and motion pic- 
ture pageantry are sacrificed to stark 
realism and dramatic intensity. The 
story, dealing only with the trial and 
death of Joan of Arc, is told almost 
entirely in closeups. Settings and 
architectural details are reduced to a 
minimum and most of the action takes 
place against neutral gray walls. 

The characterizations are all im- 
portant and are so well handled by 
the French cast that the audience, 
completely accepting the period with- 
out atmospheric shots, is precipitated 
into the political and religious con- 
flict of the 15th Century. The actors 
carry the whole burden and carry it 
so well that, as the camera searches 

for the Cintelligenzia 

Edited by Roy W. Winton 

for she carries the leading role of a 
great drama while her audience con- 
tinuously sees her face as if it were 
only a foot or so away. The slightest 
movement of her lips or eyes is regis- 
tered and when the tears well they are 
actually like torrents. 

The Passion of Joan of Arc marks 
a new tech- 
nique, for, al- 
though the 
closeup is not 
new, never be- 
f o r e has a 
story been told 
solely through 
the emotions 
conveyed by 
closeups of the 
faces of the ac- 
tors. Thus use 
is made of a 
through the 
motion picture 
camera alone. 
Many subtitles 
are inevitable 
because so lit- 
tle of the story 
is told with 
motion. Had voice been substituted 
for subtitles, the production would 
have been much smoother. The treat- 
ment of this film is better suited for 
talking pictures than any other we 
have seen. A. L. G. 

the faces of Joan, the ecclesiastical 
judges and the crowd, in turn, this 
reviewer had the greatest sense of wit- 
nessing the scene of actual dramatic 
conflict that he has ever experienced. 

However, the continuous series of 
closeups, broken only by innumerable 
titles, tires our eyes and strains our 
attention, at times. The grim reality 
with which the story reaches its climax 
is certainly great art and, equally cer- 
tainly, will not appeal to every one. 

The characters are etched on our 
memory with clean cut precision. 
Mile. Falconetti, who plays the part 
of Joan, is perhaps the greatest actress 
that the screen has yet seen. She has 
been tried by a test that has been given 
no other player on stage or screen, 


Photographs by Societe Cenerak dt films 


Usine Throughout a More Modified Closeup Technique Than That Illustrated on the Facing 

Pager The Passion o/ Joan o/ Arc Has Been Hailed as an Outstanding Artistic Achievement 

from France. 

I /%l^ E R S 


Sins of the Fathers 


Directed by Ludwig Berger 

Photographed by 

Victor Milner, A. S. C. 

Moving Camera: This picture is ef- 
fectively introduced by a receding 
camera trained on Emil Jannings, cast 
as Spengler, a waiter 
who, laden with a 
tray, comes out of 
the kitchen of the 
restaurant and en- \ 

ters the dining room. 
This technique gives 
a smooth introduc- 
tion, at once identi- » 
fying the leading 
character and in- 
cluding the atmos- 
phere of the story. ;_-• 

Cinematics: In a -~£ 

long sequence de- Z— 

voted to giving the •% 

Broadway a t m o s- " 

phere on the last 
night before prohi- 
bition went into ef- 
fect, use is made ■' 
of almost all known 
cinematic devices. 
Closeups of the drinkers in various 
parts of the city dissolve into multiple 
exposures of Broadway revelry. 
Throughout the whole, closeups of a 
clock, the hands of which are ad- 
vancing toward midnight when prohi- 
bition becomes a law, appear regu- 

Technkal Reviews to 
Aid the Amateur 

Edited by Arthur L. Gale 





larly. These closeups give dramatic 
meaning to the whole sequence and 
the treatment is worth amateur atten- 
tion. As the clock-hands touch twelve 
a seated policeman rises and stands 
before the clock as it fades out. The 
officer is taken with the camera trained 
almost directly upward, thus causing 
him to appear as an enormous figure 
and making him symbolize the fact 
that the law now dominates the scene. 
This sequence is then cut into a scene 
of the police closing Spengler's bar. 

In another instance, after Spengler 
has become connected with a crew of 
rum-runners and has been shown 
loading a truck with liquor, the truck 
backs into a closeup and the legend 
on the tail-board, "Spengler Fresh 
Fruits and Vegetables," tells how the 
liquor is being hidden and effectively 
closes the sequence. 

Cutting: The whole film is ex- 

Again the Effectiveness of an All Closeup Picture I 
Found, which Has Just Been Produced by Travel Movie F: 
Formerly Technical Editor of Movie Mak 

the Novelty, Loit i 
vhich Walter D. Ke 

pertly cut and the scent's exquisitely 
timed. To the amateur who takes great 
care with the planning and editing of 
his films, this picture will serve as an 
outstanding example. 

The River 


Directed by Frank Borzage 

Photographed by 

Ernest S. Palmer. A. S. C. 

Symbolism: The absent lover is 
symbolized by a tamed crow, his gift 
to his mistress. Throughout the de- 
velopment of the plot the crow stands 
for the sinister influence of the absent 
lover. Sometimes the shadow of the 
crow in his cage is used to recall to 
the woman her past associations and 
(Continued on page 253) 


/%■*■«■■- 1929 



As Seen by the Director of "The End of St. Petersburg" 

By Alexander Bakshy 

THERE is no lack of books ex- 
plaining the methods of writing 
scenarios for the movies. One 
is shown how to prepare a working 
continuity and how to use such tech- 
nical devices as fades, dissolves, 
vignettes, etc. No doubt the informa- 
tion contained in these books is very 
useful, particularly for an amateur 
movie maker who is obliged to learn 
his art from books and his own expe- 
rience. And yet none of these books 
is of much help to the amateur when 
it comes to the actual making of a 
picture since none of them explains 
how to translate events as they happen 
in real life, or are described in imagi- 
native literature, into their equivalent 
cinematic language. 

For this reason special interest at- 
taches to a little volume on cinema di- 
rection by Vsevolod Pudovkin, the 
gifted Russian who directed The End 
of St. Petersburg. The book was orig- 
inally published in Russia but has 
since appeared in translation in Ger- 
many where it has been acclaimed as 
one of the most important contribu- 
tions to the study of the cinematic 

The present article is an attempt to 
present the salient points of Pudov- 
kin's discussion of the nature of 


cinematic material and the methods 
by which this material can most ef- 
fectively be used. 

It will be recalled that in its early 
stages of development the motion pic- 
ture was regarded primarily as a 
means of recording and reproducing 


dramatic action. As far as it lay with- 
in its photographic powers the photo- 
play aimed only at supplying the 
closest possible approximation of the 
stage play. 

Before long, however, it was dis- 
covered that the motion picture was 
capable of much more than mere 
mechanical recording of events and 
actions as these took place in front cf 
the camera. The latter, it was learned, 
could not only look on but also react 
to its impressions by sorting them out, 
analyzing them and building them up 

In filming a procession, for in- 
stance, the camera would photograph 
first from the roof of a high building, 
taking the general view of the march- 
ing crowd; then, stopping at a window 
on the second floor, it would look 
more closely at the instruments of the 
band, the banners and other outstand- 
ing objects; finally, coming down and 
plunging into the crowd, it would 
study the processionists, picking out 
a man here, or a group of men there. 
The camera, deputizing here for the 
living observer, would thus view the 
procession from three different van- 
tage points, by doing which it would 
obtain not merely a record of the 
scene but a many-sided picture of it, 
standing in full relief and reflecting 
the camera's own contact with the 
actual event. 

This ability of the camera to con- 
duct the spectator through a process 
of active observation definitely con 
trasts with the passive contemplation 
of a set scene as required of the spec- 
tator in the theatre. The spectator is 
no longer confronted with a real event 
or real objects. Instead, he views a 
series of aspects of the scene which 
his imagination welds into a single 
picture. The realization of this dif- 
ference marked the parting of ways 
between the stage and the motion pic- 
ture and inevitably led to the develop 
ment of a special technique for pre- 
senting events not as they are, but in 
their cinematic equivalents. 

One of the first things the movie 
director must acknowledge is the fact 
that the material he has to deal with 


consists of segments of film, or scenes, 
and that it is the assembling of these 
scenes, the so-called "cutting," that 
makes the screen picture. 

Observe the difference here between 
stage and movie material. On the stage 
the material is real with actual objects 
having their existence in space and 
time. When an actor is at one end of 
the stage he cannot reach the other 
end without taking so many steps, i.e., 
without moving his body through a 
certain space within a certain time. 
The movie actor is not bound by these 
conditions. He can pass from one 
point to another both in space and 
time, completely eliminating all the 
intervening points and moments. Thus 
the motion picture achieves concentra- 
tion of action impossible on the stage. 
The utmost the latter can do is to 
eliminate action between acts. The 
motion picture concentrates even sin- 
gle actions, for instance, the move- 
ment of a man. 

But if the intervening moments can 
be eliminated in the screen image they 
can similarly be eliminated in the ac- 
tion photographed by the camera. To 
shoot the fall of a man from the rooi 
of a skyscraper one need not make the 
man fall the whole distance from the 
roof to the ground. All that is neces- 
sary in this case is to let the man fall 
from the roof into a net only a few 
feet below him, but invisible to the 
camera lens, and then fall again onto 
the ground from a distance only a few 
feet above. By joining the two scenes 
the impression of a fall from a great 
height is created though no such fall 
ever happened as a real event. 

Another way of concentrating ac- 
tion is seen in the following example. 
In filming a procession it may be de- 
sired to show the different groups 
which take part in it. But instead of 
showing the whole procession as it 
files past the camera, a few short 
scenes of the bandsmen, the civilians, 
the children, etc., suffice to convey the 
desired information in a time which 
is only a fraction of the actual time 
that is taken by the procession to pass 
the camera. 

Two peculiar effects follow from 
this power of the motion picture to ar- 
range its scenes in any way that may 
be desired. First, the screen time be- 
comes quite independent of the real 


time and is determined only by the 
number and duration of the individ- 
ual scenes which have been selected to 
represent the event filmed. Likewise, 
the screen space is also only the result 
of cutting. In 1920 a Russian direc- 
tor, Kuleshev, tried the following ex- 
periment. He made a picture in which 
the treatment is as follows: Scene 1. 
A young man walking from left to 
right. Scene 2. A young woman walk- 




ing from right to left. Scene 3. The 
two meet and shake hands. The man 
raises his hand as if pointing at some- 
thing. Scene 4. A large building with 
wide steps leading up to it. Scene 5. 
The young man and woman are seen 
walking up the steps. 

The story told by this picture is 
obviously that two young people meet 
and walk up the steps into the build- 
ing. In point of fact, however, the 
first three shots were made in three 
different places in Moscow, the fourth 
one represented the White House, 
Washington, and the fifth shot showed 
the steps of a church in Moscow. By 
the magic of the motion picture all 
these different places were made to 
merge into one which had its being 
only on the screen. 

One other important character- 
istic arises from this power of the 
movie director to arrange his material 
as he pleases. This power implies 
selection and emphasis which enable 
the spectator not only to see the scene 
as a whole but also to concentrate his 
attention on a single detail. It is one 
of the most potent advantages of the 
cinematic medium that it can conduct 
its observation from the surface of 
things right into their very heart, pene- 
trating into their innermost secrets. 
But again, in revealing the significant 
detail to our view, the motion picture 
does not repeat the actual process of 
{Continued on page 250) 

APRH. 1929 

Many Locations Will Be Found : 

1 Any City for Such a Woodland Sci 
Call for 3 New Zealand Setting. 

s This which Happened 

You'll Find the World on Main Street 

How to Use Local Settings to Solve Your Photoplay Scenic Problems 

By Paul D. Hugon 

THANKS to the narrow angle of 
the movie lens, which keeps out 
of the scene inconvenient means 
of identification seen by the eye, we 
can often use in film productions 
ready-made local settings that do not, 
at first sight, suggest the location we 
may be looking for. Substitution of 
one location for another is the secret 
of cheap production. 

There may not be, in our city, a 
good-looking five story hospital, com- 
plete with its name carved in stone 
over the front entrance, but it is a 
safe bet that there is, somewhere, a 
public institution or a private house 
which has five or six wide steps lead- 
ing up to a big front door. Placing 
the camera so as to shoot the steps, 
some of the wall, and a very little of 
the door, we have a perfectly con- 
vincing hospital entrance, especially 
if we are wise enough to precede the 
scene with a title reading. At the Hos- 
pital, or if we manufacture a con- 
vincing sign, painted on builder's 
board in imitation brass letters, read- 
ing. Good Samaritan Hospital, and 
place it just by the door at the top of 
the steps. 

The psychological principle on 
which all such substitutions are based 
is the one of memory itself; given a 
certain part of a memory pattern, we 
supply the other parts, and recognize 
the scene. Having associated the word 
hospital with broad entrance steps we 
need only the word and the steps to 
picture mentally the whole building. 




Nearly Every Community Has Some Such Structure. 

Copied after Medieval Towers, which Will Serve 

When a Castle Set Is Required. 

One such substitution I remember 
using in a film made in Hartford, 
Conn., in conjunction with the State's 
Americanization schools. The first 
scene of the script called for the 
landing of an Italian immigrant in 
New York. To save the trip, we went 
into a field a mile or two out of the 
city, away from trees, placed the 
camera at the foot of a very low em- 
bankment, and shot the lens into the 
sky. The scene, then, was nothing but 
sky. Using a circle diaphragm, we 
opened up on the immigrant, his 

bundle on his shoulder, standing be- 
wildered, turning his head slowly 
from left to right as if lost in wonder- 
ment at the skyscrapers of New York, 
then, heaving a sigh, walking slowly 
down the declivity, which looked ex- 
actly as if he were starting down 
a gang plank. Nowhere was anything 
suggestive of a ship to be seen, except 
in the title immediately preceding the 
action; but so powerful was the asso- 
ciation of the immigrant's clothes, his 
make-up, his bundle, his bewilder- 
ment, the sky, the going down, with 
the idea of shipping, that nobody for 
one moment questioned the location 
and the scene was referred to as "that 
ship scene" by everybody at the pre- 
view. That is to say, people who saw 
the sequence could have taken their 
oaths that they had seen an immigrant 
land from a ship. 

With artificial light, at night, the 
power of suggestion is immensely en- 
hanced. It is not merely for artistic 
effect that so many exteriors, such as 
water fronts and cafe districts, are 
made in Hollywood at night; it is far 
more to conceal unpleasant means of 
identification. A small scene plus 
endless darkness is as impressive as 
a large scene. The merest drop of 
water, with a square mooring post and 
a coil of rope, becomes, by associa- 
tion, a dock in Havana, Shanghai, San 
Francisco or Marseilles. Even the tar 
soaked waste at the foot of an oil 
well, with its rigging, has been known 
to suggest a night harbor scene. 


One who has to work in a small 
community should make a list of all 
the public buildings to which he has 
access within two hours' drive, and 
should inspect each of them closely, 
cupping his hands before his eyes to 
see the narrowest angle possible and 
to determine what suggestion value 
it may have. 

Public school buildings 
will generally supply all the 
variety required for large in- 
stitutions of any kind, pro- 
vided you avoid showing the 
actual doors. Shooting close 
to the long, bare, brickwall, 
you may call it a prison, a 
government office, a factory, 
a hospital. 

The buttressed walls of a 
church shown quite close up, 
will become castles, medieval 
scenes, foreign prisons. Stud- 
ded church doors will be the 
doors of palaces, dungeons, 
torture chambers. 

Is there in your town even 
one house with a basement 
and ten or twelve steps up to 
the front door, with an iron 
baluster? That is "the Fif- 
ties" in New York. 

Is there one very narrow 
street of dingy red brick 
houses? That is the Bowery, or China- 
town. A little doctoring of the street 
signs, making them read in Chinese, 
Yiddish or Mexican, will work won- 

Is there one stone or marble- 
There Will Be No Probl 

fronted building with an iron-railed 
glassed door? That is Paris. 

Is there a park terrace with stone 
balusters? Placing the camera low 
enough so as to avoid recognizable 
scenery, that is Monte Carlo. 

Is there a park railing with some 
heavy foliage beliind? That is the 

Somewhere Near Every To%vn Is an Old Reservoir 
Which Will Suggest a Background of Antiquity Such 
as Was Called for in this Holy Land Photoplay. 

palace fence, or the rich girl's home. 

So important is this practice of 
finding the values of your immediate 
environment that one well-known 
school of story-writing demands of 

zm in Finding Some Such Charming Cottage to Suggest the English Ci 

its students complete lists of all loca- 
tions in their neighborhoods, where 
lovers could meet secretly, where a 
person could get lost, where murders 
could be committed, where conspira- 
tors could hide from the law, and so 
forth. A student who was visiting that 
institution was asked recently to look 
out of the window and de- 
scribe what he saw. "Nothing 
but a flat roof," he said. He 
was then shown that there was 
a distance of five feet between 
that flat roof of the adjoining 
building and the window at 
which he stood, a convenient 
leap for an agile person; that 
eight feet below was a very 
wide ledge; that ten feet to 
the left was a triangular shaft 
formed by the two buildings, 
where a person could easily 
hide; that at the end of the 
flat roof was a gap four feet 
wide between the buildings, 
enough to pass from that roof 
to the top of a garage, open- 
ing on to a parking station, 
where an empty car (owing 
to an angle in the layout of 
the grounds) could be stolen, 
thereby facilitating a rapid 
escape; and so on, until the 
student began to realize that 
much of the supposed secret of finding 
dramatic locations consists in accur- 
ate observation of one's surroundings. 
The producer who starts out looking 
for a palace may not find one because 
(Continued on page 260) 



ti^ llnfff'' " 

" * ••*> 






[Home Movies in Full Color^ 

Gives New Beauty to 


LOSl'.-UPS and semi-long- 
shots in Kodaeolor gi\e a remarkable 
sense of depth and roundness — almost 
a stereoseopie third dimension — as 
though, instead of looking at the pic- 
ture, you are looking into its colorful 

Kodaeolor, by reproducing flesh 
tints and subtle modulations of tones 
in portraits, together with the anima- 
tion of the motion picture, gives an 
efi^ect that is indescribably lifelike. The 
more Kodaeolor close-ups you ha\e, 
the more valuable and interesting vour 
films will be — tor the real, underlving, 
sentimental \alue of Kodaeolor hnds 
its truest expression in the motion pic- 
ture portrait of a friend or loved one. 

Kodaeolor made its public appear- 


ance last August. Most amateurs who 
tried the new him, with no back- 
ground of experience, obtained excel- 
lent results from the very first. Records 
kept at Rochester, made from inspec- 
tion of film processed here, indicate i 
clearly that it is just as easy to take . 
good Kodaeolor as it is to take good 
black and white pictures. 

Kodaeolor is made on Kodaeolor 
film with Cine-Kodak, Model B,y. 1.9. 
You simply use a color filter when 
taking Kodaeolor. Showing the 
pictures in full color is equally easy 
— you simply use a Kodaeolor filter 
on Kodascope, Model B, or a special 
Kodaeolor unit on present series of 
Kodascope, Model A, when project- 
ing Kodaeolor. 

Cine-Kodak, Model B, 

/■^■p; you simply use a 

color filter when taking 


The cost of the Kodaeolor filter 
for Cine'- Kodak, Model B, /.1.9, is 
only $15. The cost of the filter for 
Kodascope, Model B, is $18; for 
Kodascope, Model A, present series, 
^20. Kodaeolor film comes in 50-foot 
rolls, at $6 per roll. 

Your Cine'- Kodak dealer carries 
Kodaeolor equipment and Kodaeolor 
film. Ask him to show you Kodaeolor 
on his screen. He will do so gladly. 

Kodascope, Model B; you 
simply use a color filter 
when projecting Kodaeolor. 


y%<>IKIL 1929 


Edited by Louis M. Bailey 

H yper-H ypochrondria 

NOW that the talkies have 
starred the beating of a baby's 
heart in a feature fihn so that 
not one beat of its entertainment value 
was lost in a square mile of movie 
cathedral, we are made aware of an- 
other great possibility of amateur film 
enjoyment for certain ladies. Next 
winter Aunt Effie, for example, can 
take a reel and record of her latest 
operation to White Sulphur and let 
the rocking chair brigade revel in it 
at first hand. 

As far as we are concerned, how- 
ever, both showings would be greatly 
improved by an accompanying can 
of ether. 

A La Rube Goldberg 

TPO make home talkies, according to 
-'■ our private recipe, first place the 
camera on a large piece of oil cloth. 
Next, secure the rubber tubing from 
the shower bath. Bring up a steamer 
trunk from the basement. Attach the 
rubber tube to a convenient bridge 
lamp. Take the motor from the phono- 
graph and couple it to the water 
heater. Make a bundle of this equip- 
ment in the oil cloth. Spray with 
cologne and place the whole in the 


steamei tiunk for shipment to pomls 
unknown Then call foi a ta\i go to 
the neaiest canieia stoie and bu> some 
talkies ready made! 

Oh Temporal Oh Noses! 

TF you are not gifted with the fair 
■'•features of Venus or Adonis you 
may now take new hope of being asked 
to become a star by the local movie 
club. It seems the lack of just such 
attributes is often the open sesame to 
movie fame, but, should you attain 
amateur movie stardom by this route, 
resign yourself to avoiding beauty 
parlors for the rest of your movie 
career, as word has just come from 
Hollywood that Louis Wolheim, the 
screen player, has been legally re- 
strained from making himself hand- 
some by means of plastic surgery. 

This also causes us to pause and 
contemplate the topsy turviness of 
these times when a movie hero isn't 
allowed by law to be beautiful, as of 
old, but when a prize fighter can bob 
his nose with narcississtic abandon 
without losing the adulation of a 
single hard-boiled fan. 

Bigger and Better 

' I '0 the amateurs who have a pen- 
-*- chant for producing more poor 
films than they know what to do with 
( and have not yet begun to read 
Movie Makers to correct their errors) 
we offer the following story from 
Hollywood as solace. A certain com- 
edy producer and a director who lets 
very little worry him, are said to have 
been standing on the sidewalk after a 
pre-view at which the latter's latest 
opus had been received with truly ter- 
rible silence. "That's another one to 
go on the shelf" wailed the producer. 
"What am I to do?" 

"Build a bigger shelf," answered 
the director and passed on into the 

Page Mr. Maxim 

TTAVING achieved a silencer for 
•'■ ■•■ guns and later the noises of many 
mechanical devices now in public use, 
H. P. Maxim, the president of the 
A. C. L., is alone qualified, according 
to Epes Sargent of Zit's Theatrical 
Weekly, to supply what he terms the 
most crying need of the movies, a 
silencer for the talking picture. 


iA« ^i 


Pictures So Sharp 
They Enlarge Like This 

From about the size of a special delivery postage stamp to the size of a poster. 
From miniature to mural. Without loss of detail — without slurring a single 
eyelash — without sacrificing any of its brilliancy. 

The Q.R.S. Still Kamra takes 40 Shots with a single loading. Small in size 
to fit everyone's hand. Low in price to fit everyone's pocketbook. Only $22.50. 

Tlie Q.R.!$. Company 

Establishvtl iOOO 

333 X. Michigan Avcuue 
Chicago, III. 


San Francisco 
:{06 7th Street 

Xew York 
1 35th SI. and Walnnt Ave. 




333 N. Michigan Ave., Dept. E-4 

Chicago, Illinois 
Please send me full information about Kamra. 





>%PRIL 1929 


hs Official Name Is "Simple Repetition Animation' 

By Herbert C. McKay, A. R. P. S. 

k^ CHRI5Tnfl5 


■ (-..lis) 


MANY amateurs would like to 
make animated titles for their 
films but are deterred because 
of the difficulty in making the neces- 
sary drawings and photographing 
them in register. By adapting the car- 
toonist's celluloid masks it is possible 
to make amusing and attractive ani- 
mated titles with a single drawing and 
three celluloid masks or "cells," as 
they are more commonly known. 

Professional cartooning requires a 
very great number of drawings, each 
of which must be registered in exact 
position before making the exposure. 
This necessitates the use of a special 
cartoon stand and a long, tedious 
photographic exposure. Even with 
the drawings and cells done, the ama- 
teur would find the preparation of a 
cartoon an arduous day's work. How- 
ever, animated titles by the repetition 
method mav be made in a half-hour 
and photographed in ten to fifteen 

The material required consists of 
a lettering pen of the round point 
variety, a bottle of black lettering ink 
and a supply of white cards cut to 
the proper size for the title-making 
equipment used. 

It is assumed that direct titles will 

be made. There are 

many reasons for this. 

Positive stock is used 

in the camera because 

of the superior contrast 

thus secured. Its use is 

still further recom- 
mended because of the 

fact that positive film 

is considerably cheaper 

than negative. Finally, 

instead of reversing or 

printing, this negative 

is developed "straight.' 

The advanced amateur 

can do this at home us- 
ing a portable tank, 

while tliose who do not want to do the 
developing themselves can have it 
done by any up-to-date laboratory. 

When cut into a printed positive 
the titles should be reversed; that is, 
the two celluloid sides should be ce- 
mented together. However, when these 
titles are to be used with reversed film 
thev are cut into the film in tlie usual 
manner with the emulsions of both 
films facing the same way. 

If several titles are to be made from 
one set of cards, a black card is used 
with white ink. This, when developed, 
gives a negative. From this negative 
is printed the requisite number of 
copies. Of course, the black card and 
white ink may also be used for making 
titles directly upon reversal film. As 
has been said, the positive film is 
recommended due to the increased 
contrast obtainable. 

The title card bears the lettering 
and the immovable parts of the de- 
sign. When the card is drawn, three 
pieces of thin, transparent celluloid 
are cut to the exact size of the card. 
These --cells" are laid over the card 
and the movable parts of the figure 
are drawn in the first position. The 
second position is drawn upon the 
second cell and the third position up- 
on the third. This set completes the 


Cecil « 

Rnimbl Life. 


from a drop of luafer 

^ '-' ^ 


^ ^ 







Card and One '•Cell" Are In the Holder and Anothei 
Against the Support. 


lUustralion One shows a design 
used in titling a Christmas film. On 
the card we have the lettering aiid the 
tree. The remaining cells bear the 

The card is placed in the title easel 
and the camera carefully focused up- 
on it. The lights are placed so that 
the card is evenly illuminated and so 
that no direct specular reflection or 
glare is thrown into the lens. A 1000- 
watt T-20 Mazda in the reflector 
placed directly beside the camera and 
behind it will supply sufficient light 
for title photography at / 4.5 to / 5.6. 
Be careful to shield the camera itself 
from the direct rays of the light. 

The camera, loaded with positive 
film, is set at half speed and an ex- 
posure of about two seconds is made. 
Then cell 1 is placed over the card 
and the camera release depressed for 
the shortest possible period. If this 
touch is made quickly not more than 
two frames will be exposed. In this 
work single frame exposure is not de- 
sirable as it speeds up the animation 
too much. 

Cell 1 is removed and cell 2 placed 
over the card and a 
second short exposure 
given. Then cell 3 fol- 
lows. Then back to cell 
1 and so forth, the pro- 
cess being repeated un- 
til sufficient film is se- 
cured. Now let us see 
what will happen. 

The spots on the cells 
are considerably larger 
than the branches of the 
tree so that they will 
show plainly in any po- 
sition. Cell 1 causes 
several white spots to 
appear in the tree. (As 
this is a direct positive 
title, black on the card 
{Continued on page 252) 

lOWIE IM ;% K E R 9 

M.idcl 5-T Outfit Includ- 

of 3 Different Focal 

Lengths, Corrcctoscope and Carrying 

An Assurance of . . . 


The pride of every owner of a Victor Cine-Camera — is its brilliant performance! 

The instant you see it. The moment you handle it. The Victor Cine-Camera gives you a 

feeling of confidence. Instinctively you sense its remarkable performance — its ability to 

meet your most exacting demands. 

In its construction, nothing has been overlooked, nothing forgotten. Half speed — Normal 

speed — Super-speed for SLOW-MOTION. Every important feature, every possible 

convenience has been anticipated. 

You aren't buying just a camera, when you buy a Victor. You're buying "satisfaction" — 

the assurance of getting perfect motion pictures. 

Try one — then you'll first fully appreciate the sheer joy of owning a Victor Cine-Camera. 

{Complete equipments as low as $125.00) 

"Of course, you'll use a Victor Cme-Projector 
to display your pictures to hest advantage." 


Main Office and Factory 
Davenport, Iowa, U. S. A. 

Branch Sales Office 
242 West 55th St., New York 

J^IVRH- 1929 

rt/fnnouncing the new 
"Special" F 1.8 


April Filmo Library releases 

April releases include nine films for home pro- 
jection. These may be rented or purchased from 
your Filmo dealer. Check coupon for library 

••S€)ul of the Beast," a truly remarkable Thomas H. Ince 
feature production, with Madge Bellamy, Cullen Landis, 
Noah Beery and ■'Oscar," the elephant. 5-400 foot reels. 
"The Inauguration of Herbert Hoover," 100 feet; $7.50. 
"Drama De Luxe," with Lupino Lane, 2-400 foot reels; 

'■Mister Chump," a Cameo Comedy, 1-400 foot reel; 

"Felix Helps the Hunter," 100 feet; $7.50. 
"Felix and Mammy's Flapjaeks," 100 feet; $7.50. 
"Along the North Rim of the Grand Canyon," 100 

feet; $7.50. 
"Up the Kaibab Trail to the North Rim of the Grand 

Canyon," 100 feet; $7.50. 
"Down theBriaht.Vngel Trail into theGrand Canyon," 

100 feet; $7.50. 

Filmo Enlarger 

The Bell & Howell Filmo En- 
larger operated with the Filmo 
Projector, enables you to secure 
an enlarged 2'4 x 334 negative 
from any frame in a 16 mm. 
film. Enlargements can be made 
in daylight without the use 



enlargements, remove the regu- 
lar lens from the Filmo pro- 
jector, slide the enlarger into 
place and the scene you want is 
ready to be projected onto the 
negative in the film pack. Price, 
including special lens, film pack 
adapter and one film pack, 
$28.50. Mark coupon. 

The Dremophot 
70-75 Exposure Meter 

Correct exposure is most important when 
taking Kodacolor movies. 
The Dremophot gives correct exposure 
"'ngs for both the Filmo 70 and 7,5 at a 
e. Readings for all speeds at which 
10 70 operates. Price, with hand sewn 
, $12.50. Mark coupon. 

Kodacolor Lens 
for Filmo Projector 

For projecting Kodacolor with Filmo Pro- 
jector, an entirely separate lens unit 
assembly is used. It is complete in itself 
with objective lens, Kodacolor filter and 
compensating lens in non-rotating focus- 
ing mount. Price $30.00. Mark coupon. 

"Bub" North Screen 
for Kodacolor 


e screens are especially designed to 
snow Kodacolor pictures with true brillian- 
cy and yet are equally fine for black and 
white. The rigid frame with 14-gauge alum- 
inum backing covered with metallic alum- 
inum powder lasts a lifetime. Available in 
four sizes. Screen No. 2 is the most popular 
size for color work. No. 1, 12x16 in. $11.00; 
No. 2, 18x24 in. $17.50; No. 3, 24x32 in. 
.$22.50; No. 4, 30x40 in. $32.50. Mark coupon. 

Telephoto Lenses 

'lose-up" effects of distant subjects add interest to 
ur movies. Taylor-Hobson Cooke long focallength 
ises for Filmo 70 give beautifully sharp results 
d are light and compact for easy handling. Price 
- 6" F 5.5. $65.00; 4" F 4.5, $60.00. Mark coupon. 

Head for Filmo 70 

The Filmo 70 Turret Head with regular and 
Telephoto Lenses gives ideal lens-flexibility. 
You can shift from one lens to another in a 
second's time without moving the finder from 
your eye. Price, equipping your camera with 
Turret Head at factory, not including lenses, 
$3fi.00. Mark coupon for catalog on lenses and 


IMO'%'aE IM/%KER» 

BeU & Howell T-H.C. 
Speed Lens for 


WITH this remark- 
able new "Special" 
Filmo 70 or 75, you can take 
full advantage of the possi- 
bilities of Kodacolor, avail- 
able to Filmo users under 
license from the Eastman 
Kodak Company. After 
many months of research 
and development, Bell & 
Howell engineers, working 
closely with Taylor-Hobson 
Cooke master lens designers, 
have produced this lens with 
a formula specially corrected 
for Kodacolor photography. 
Color results are achieved with this new "Special" 
1" F 1.8 lens that never can be obtained with lenses 

Completely as- 
sembled "Special" 
1" F1.8 lens with 
filters, to be u=ed 
on Filmo 70 and 75 
■ work. 

designed primarily for black 
and white work. Yet with 
the Kodacolor filters re- 
moved, this special lens is 
excellent for black and 
white photography. 

Because of this dual-util- 
ity, and the fact that the lens 
is already adapted for appli- 
cation of the Kodacolor fil- 
ters, it is not necessary to 
change lenses when shifting 
from color to black and 
white pictures. Simply re- 
move the filters. 

Price complete with Koda- 
color filters, for Filmo 70, 
$82.50; for Filmo 75, $85.00. Lens alone for Filmo 70, 
$60.00; for Filmo 75, $62.50. Mark coupon. 


BELL & HOWELL CO., Dept. D, 1828 Larchmont Ave., Chicago, III. 

^^ew York, Hollywood, London (B. & H. Co., Ltd.) 
Established 1907 

BELL & HOWELL CO., Dept. D., 
1828 Larchmont Ave., Chicago, III. 

Please mail me complete information on D "Special" 1" F 1.8 lens fi 
Kodacolor D Dremophot Exposure Meter D Kodacolor Lens for Filn 
Projector D Telephoto Lenses D "Bub" North Screens D Filmo ' 
Turret Head D Filmo Enlarger D April Filmo Library Releases. 


City ;.. 


/VlPRML 1929 


News of Visual Education in Schools and Homes 

Nature Gems 

RECENTLY released on 16 mm. 
stock for home and school pro- 
jectors are four 100 foot films 
of the Irene and William L. Finley 
series on wild bird and animal life, 
motion piciures which are outstand- 
ing in their particular field both from 
a scientific and popular standpoint. 
They are a valuable addition to the 
interesting educational features of the 
Bell & Howell Filmo Library which 
already includes, among other fea- 
tures, the Pillsbury flower films and 
the Tolhurst microscopic studies. 

The Finleys, well known as natural- 
ists, authors and lecturers, live at 
Jennings Lodge, Oregon, where they 
have collected the most complete 
series of American natural history 
pictures ever taken, their library in- 
cluding over 2CG.000 feet of film and 
20,000 still negatives. They are fre- 
quent contributors on their favorite 
subject to Nature Mag- 
azine, the National Geo- 
graphic, the Atlantic 
Monthly and other pub- 
lications. They have 
written three books: 
American Birds, Little 
Blue Bird and Wild 
Animal Pets. 

These first 16 mm. 
releases include, Mon- 
key-Faced Owls. Hum- 
ming Birds. Renting 
Houses for Songs and 
Don Q — the California 

New Eastmans 

AFTER seeing four 
films designed for classroom pro- 
jection just released by Eastman 
Teaching Films, Inc., one can readily 
understand the growing popularity 
and success of the visual education 
movement. In these films geographic, 
industrial and scientific facts in their 
relation to the lives of people actually 
concerned with them are graphically 

From Tree to Newspaper. Water 
Power, Peanuts and The Golden Gate 
deal with their respective subjects 
in a very realistic and informal man- 
ner. The information to be conveyed 
is presented in such form that one is 
left with a truer conception of the 
subjects in their relation to life than 
could possibly have otherwise been 
achieved without actual first hand ex- 


Edited by Louis M. Bailey 

Enes from the Finley Wild Bird Scries. Above: Baby Hum- 
ngbirds. Cemer: Honey for Breakfast. Below: They Call 
m the Monkey Faced Owl. 

perience. The films are on 16 mm. 
safety stock and each requires about 
fifteen minutes projection time. They 
are available through the Rochester, 
N. Y., offices of Eastman Teaching 
Films, Inc.. 343 State Street. 

Living History 

THE preservation for posterity of 
films dealing with events of his- 
torical significance is planned by the 
British Empire Film Institute in a 
trusteeship vested in Ford Askwith. 
Rear .Admiral E. R. Evans and Alfred 
C. Blossom. One of these important 
films already garnered is the original 
print of Captain Scott's disastrous ex- 
pedition to the South Pole, of which 
Evans assumed command on Scott's 

Typical films which the Institute 

hopes to acquire will show such rep- 
resentative features of British life as 
the state functions and activities of 
the Royal Family, the Lord Mayor's 
parade and Armistice Day ceremonies, 
as well as various events and condi- 
tions significant of contemporary life. 

Films Teach Forestry 

SCHOOLS and individuals con- 
cerned with tree culture, lumber- 
ing and allied forest activities should 
find the recently released 35 mm. 
film series of the U. S. 
Dept. of Agriculture 
especially interesting. 

To show fire fighting, 
woods management, 
and other forestry prin- 
ciples and practices vis- 
ually, the Office of Mo- 
tion Pictures of the 
United States Depart- 
ment of Agriculture has 
prepared for the Forest 
Service of that depart- 
ment thirty-five educa- 
tional motion pictures 
on forestry subjects. 
Fire prevention, forest 
uses, reforestation, log- 
ging methods, recrea- 
tion, and grazing are among the sub- 
jects covered. 

All Department of Agriculture 
films are loaned free for short book- 
ings or may be purchased at cost by 
outside agencies. Purchases are made 
through the Department of Agricul- 
ture for about thirty dollars per thou- 
sand foot reel. The conditions of pur- 
chase are that no change be made in 
the subject matter of the film without 
explicit approval of the department, 
that credit to the LInited States De- 
partment of Agriculture be retained 
and that no commercial advertising 
matter be inserted or added. 

New Projector 

THE Bell & Howell Company is 
stressing the desirability of its 
Filmo 5-E School Projector for use 
with 16 mm. films in educational in- 
stitutions. This model is based on the 
new model Filmo 250 Watt Projector, 
recently perfected, which has been 
very successful in the home field. Ad- 
justments which increase its adapta- 
bility to the special problems of 
school projection have been made and 
the company reports that immediate 
popularity has greeted this latest ad- 
junct of visual education. 

lO'^'lE IM,%KERS 


Once more the acclaim of dealers and public alike lireets Pathe 
grams, the "home films studded with stars." Owners of home 
■ojeclors everywhere are hailinj; \vilii delight the new, 
skilfully varied films in the 1929 Pathegrams Spring 
Catalogue. We recommend especially the six droll 
Our Gang pictures; the t^^o Mack Scnnett Com- 
edies starring Harry Langdon; the Sennelt 
comedy featuring little Mary Ann Jackson; 
the daredevil Leo Maloney Western; fun- 
ny BenTurpin in his latest laugh-hit, 
and many others — all on the 
Pathegrams Spring list>. Pathe- 
grams can be shown, of 
course, on auy 16-milli- 
nietre projector. 

Film these ^— --^^r <i(sll 

stars! -^r V J 


Five Entertainment Treats for April 


in "FAST 


One of the most excit- Mary Ann Juckson, the 
ingly hilarious episodes "cutest Utile girl in 
in the career of this fi'-'^- has never been 
, , „ cuter— or more mis- 

famous comedy aggre- ^.j,ig,„„,_,h3„ ;„ 

gation. Little Farma Ui is riotous de- 
dressed in fierce can- partnient store 
nibal "clothes" will frolic. Mary Ann 
bring roars of annexes a lady's 
mirth. The Gang's baby. Amusing! 
all here in this 400 feel, S30. 
one. 400 feet in N o . 7 1 . 
length. Price 
S30. No. 


A most |)opular Pathe 
Review subject — a film 
in which there are no 
human actors but much 
happening ! "Mr. and 
Mrs." tnices by sugges- 
tion a marriage, a honey- 
moon — and the after- 
math. Entertaining! 100 
feet. $7.50. No. 7013. 


in "THE 


The famous Western The bushy mustache and 
horseman, daredevil, twinkling legs of that in- 
two-gun artist and imitable laugh-maker, 
roper in one of his Billy Bevan, were never 
most colorful and tetter di.splayed than 
swiit moving nic- ■,..'■ , 

tures. The Wil.I '" ""* "«t'-"s comedy 
\Pest wild and " matrimonial fool- 
then some! Ab- isihness. New antics, 
sorhing plot. "cw mirtlupiakes, 
too feet. S30. new stunts for 
No. 7011. young and old. 
200 foot reel. 
Price $15.00 
N... 7012 




[ /% IC E IC S 

This Art Title Still from Miami May Prove Suitable 
for Your Winter Vacation Films, with Appropriate 
Titling, or for a Reel of Night Scenes. The Photo- 
graph Is by Edward C. H. Vogler. The Lettering Is 
from the Buchheister Studios. 


{Continued from page 227) 
Strings. I finally succeeded in 
shooting them after four days' hard 
work, and then only because they 
were ordered to pose by the governor 
of the State of Jalisco, of which 
Guadalajara is the capital. 

The most pictorial shots were those 
I got from the out-of-door Indian 
market in the mountains of Guate- 
mala, where the women wear gorge- 
ous handwoven and embroidered 
blouses and carry huge trays filled 
with fruits and flowers and vege- 
tables on their heads. 

The most important single shot 
I ever got was of the late lamented 
President Obregon, who not only 
posed for my camera, but invited me 
to a ball given in his honor at Culia- 
can. Probably the most delightful 
pictures were those I got of Mexican 
and Central American children 
climbing cocoanut trees, trotting 
along carrying loads not very much 
smaller than those of their parents, 
and riding on burros, completely 
surrounded by the household lug- 

It seems to me that anyone who 
goes to Mexico or to any of the Cen- 
tral American countries without a 
motion-picture camera is missing a 
most wonderful opportunity for both 
pleasure and education. Buy a mini- 
mum fare stateroom, go second class, 
reduce your tips to the deck steward 
and bell-boy, but by all means, take 
a camera along! Mine has paid for 
itself many times over by re-creating 
for me happy, colorful, adventurous 
experiences, probably never to be re- 
peated. Also it has saved for me 
an invaluable record to which I can 
refer in writing a story or in case of 
an argument. 


so SIMPLK lor autoists. 


For those who would bu 
and for those ivho can but didn't 
HEY TAXI get to the Cannibal Isles, 

for those who believe in safety last. 



for those who ha 


servant prob- i pjjj^ h 

nducted tours to the 
r< and Samoan Isles. 

for the newlyweds. 

for those who have been the 


for those who want to brew it '<"■ everyone. 

Always funny, never tiring. 

TOONS. In an er 

nd the CAR- 

they can never lose their thrill. 

the first east-west flight. 


^ AT 


C. p. GOERZ AMERICAN OPTICAL CO., 3I9.A. E. 34th St., N. Y. 


APRIL 1929 


Projection l<enses 


Q.R.S., Filino, DeVry, Duograpli. 

Kodascope (o) and other 

16 mni. Projectors 

STANDARD in focal lengths '4" to 4" 

(11 2-4" have clear aperture of 20 mm.) 

BIG BERTR\— focal lengths 2" to 4" 

(All siiea— clear aperture 26 mm.) 

At DITORIUM— focal lengths 2':;" tt) 6" 

(.^11 sizes— clear aperture 32 mm.) 

The Auditorium Lenses have been especiall , 

designed for use in Schools, Large Halli, 

Auditoriums, Theatres, etc. 


Literature on Request 


333 No. Michigan Ave. 
rHICA(;0. ILL. 

r \ 


Ideal for 


(Home Movies in 
Full Natural Color) 

pLENTY of sunshine . . . blue 
skies . . . fresh, green foliage . . . 
flowers in blossom — spring days are 
ideal for Kodacolor. 

Cine-Kodak, /. 1. 9, with Koda- 
color attachment — a roll of Koda- 
color film, and you are ready to 
make home movies in full color. 

Learn the fascination there is in 
making your own home movies. 
Slop in at either of our stores for a 
demonstration, or we will gladly 
send you free booklets on Cine- 
Kodak and Kodacolor. 

Our complete Cine-Kodak outfits 
are reasonably priced and are sold 
on convenient terms, when desired. 

Eastman Kodak Stores, Inc. 

The Kodak Corner— Madison at 45th 
235 West 23rd, near 7th Ave. 
New York Citv 


(Continued from page 235) 

singling out the detail. It eliminates 
all the work of finding it and presents 
U.S with the final result of the process. 
How significant and dramatically ex- 
pressive a single detail can be is re- 
vealed in an episode from the trial 
scene in Intolerance where only the 
hands of Mae Marsh are shown, pinch 
ing each other in an attempt to con 
trol her emotion. As in this case, de- 
tail is the synonym of penetration 
The movie director who searches for 
detail is a discoverer and a creator, 
as well as the possessor of a more pro- 
found and penetrating vision. The 
pinching hands and the smiling face 
enabled Griffith to create one of the 
most memorable images of the screen. 
His genius helped him to select these 
two details out of a thousand other 
possible details. But the same pro- 
cess lies at the basis of every cine- 
matic episode. Every event before be- 
ing shown on the screen must be re- 
duced to its essential elements and 
then built up again through these. 

Take the simple example of an 
automobile accident. If one analyzed 
it he would find it made up of a hun- 
dred different details. Six details, 
however, were all that were necessary 
to describe the episode in The San of 
a Maestro. This is how it was done: 
Scene 1. A street with moving auto- 
mobiles. A man with his back to the 
camera crossing the street. He is hid- 
den from view by another car. Scene 
2. Close-up of the driver seized with 
fear and frantically applying the 
brake. Scene 3. Close-up of the man 
with his mouth open as if shrieking. 
Scene 4. Close-up of the man's feet 
near the wheel, as seen from the 
driver's seat. Scene 5. The sliding 
wheels of the automobile. 5cene 6. 
The body of the man near the car. 

It will be realized tliat to be able to 
build up the episode in these six 
scenes the director had to pick them 
from a number of other possible de- 
tails before he commenced shooting. 
In other words, he came to shoot the 
real event with a preconceived idea of 
what it had to look like on the screen. 
This idea found its realization in cut- 
ting which finally fixed the selection 
and order of the single scenes. At the 
same time, although in forming his 
screen image the director was free to 
select from the real event the exact 
elements which fitted in with his con- 
ception, he was not completely free in 
arranging these elements in cutting. 
Their order was determined by the 
natural course of the accident and the 

psychologically justifiable course of 
observation. Nor was the director 
free to shorten or extend the duration 
of each scene, for, independent as 
screen time is from the time of the 
real event, it has to conform to a cer- 
tain time scheme of relationship be- 
tween the various scenes. In the auto- 
mobile accident described, the screen 
picture would have appeared absurd 
if some of the scenes had been allowed 
to drag on. 

Thus largely, though not entirely, 
the art of the motion picture lies in 
preparing the working continuity 
and in cutting the film. The arrange- 
ment of scenes must follow a certain 
order. In fitting a close-up into a 
series of long and medium shots the 
order will be that of the movement 
which runs through the whole series, 
as, for example, in the following 
shooting sequence : 

Scene 1. Medium shot of a man put- 
ting his hand into his pocket. Scene 2. 
Close-up of the hand bringing out the 
revolver. Scene 3. Medium shot of the 
man pointing the revolver at his op- 

In cut backs, the order will be that 
of the agitated and rhythmic follow- 
ing of the course of events by an emo- 
tional observer. Above all, however, 
the arrangement of scenes will serve 
to express the individual style and 
feeling of his medium on the part of 
the director. As an example of such 
individual treatment one may cite 
the following bit of brilliant cutting 
from Eisenstein's Potemkin. 

Title 1. In answer to the savage 
brutalities of the Tsars henchmen, 
the mutinous warship fired a salvo 
at the city. Scene 1. A slow turning 
of a huge, menacing looking gun. 
Title 2. It is aimed at the municipal 
theatre. Scene 2. A sculptural group 
surmounting the theatre. Title 3. 
One for the headquarters of the 
Generals. Scene 3. The gun firing. 
Scene 4. A view of the cupid on the 
gates. Scene 5. Different view of 
cupid. Scene 6. A terrific explosion 
shattering the gates. Scene 7. A stone 
lion lying down. Scene 8. The lion 
raising its head. Scene 9. The lion 
standing. Scene 10. Another explosion 
finally destroying the gates. 

It may be noted that the stone lion 
that rises with a roar was made up of 
three lions photographed in the 
Crimea hundreds of miles away from 
the scene of action in Odessa. Similar- 
ly, the gates were filmed in Moscow. 

iM O 'V I E M >% K E R S 


-M^ ca 

OU want your pictures on the screen 
to do full justice to your photography. 
You want them to be worthy of your 

Kodascope, Model B, the leader of the 
Eastman projectors, will reproduce your 
pictures as nearly perfect as it is possible to 
show them. Scientifically designed and pre- 
cisely manufactured, it has many distinctive 
features. It is self-threading — you merely 
slip the end of the film into a slot and turn 
on the motor. It rewinds a four-hundred- 
foot reel — approximately i <; minutes of 
projection — in 60 seconds. A framing device 
centers the picture on the screen without 
shifting the illuminated area. Pushing a 
small lever gives a "still" picture of any 
frame, and throws a protecting screen be- 
tween the lamp and the film. The picture 

can be run backward without stopping the 
motor, thus reversing the action and making 
many humorous situations. 

Other important features are adjustable 
rheostats for motor and lamp, low center of 
gravity, light weight and portability. A rich 
bronze finish and non-tarnishing chromium- 
plated fittings give the Kodascope a beauty 
in keeping with the homes in which it is 

And there is still another outstanding ad- 
vantage of Kodascope, Model B. It is ideal 
for Kodacolor projection. You simply use a 
color filter when making or projecting Ko- 
dacolor — and the turn ot a switch gives you 
your pictures in full color on the screen ! 

Get the maximum pleasure from your 
home movies by showing them with 
Model B Kodascope! 


^sk your Ctne- Kodak dealer for a demonstration 


AK>IUM. 1929 

\jr -- 

Ti'^^TiAi -'"^^ 

Cli I CAC O 

Famous as the home of Filmo 
and of Bass Motion Picture 

Nineteen years of specialization 
for the professional and ama- 
teur cinematographer. Bass 
Knows How! 

Filmo Cameras 

Marvels of precision. The Filmo 70 
known wherever cameras are used as 
the world's best motion picture camera. 
Sells complete with Cooke /3.5 lens 
and carrying case at $180.00. 
Filmo 75 . . . the dainty Pocket Thin 
Movie with Cooke fi.5 lens and carry- 
ing case at $120.00. 
Filmo Projectors . . . from $190.00 to 

Bass Service 

of the earth. 

Largest selection of motion picture spe- 
cialties . . . Telephoto lenses . . . and 
supplies. Be sure to send for catalogs. 
Your old apparatus taken in as part 



"Filmo Headquarters for Tourists" 

Developing — Printing 

16 mm. Negative 
Individual attention to every film 

Home Movie Service Go. 

2128 Cathedral Ave. Norwood, Ohio 

Northeast Products Company 

Tewksbury, Massachusetts 


{Continued from page 222) 

Kalb, Illinois. A complete film re- 
cord of the De Kalb Garden Club, 
designed to illustrate the achieve- 
ments of this organization to garden 
clubs of other cities, and records of 
Kivvanis Club activities are among 
those which he has been instrumental 
in producing. It is Mr. Clark's opin- 
ion that amateur movies can serve 
every organization to which a movie 
maker may belong and that their real 
usefulness to business and the com- 
munity has only begun to be realized. 
Another member of the League, W. 
Lyle Holmes, Jr.. who is a manufac- 
turer of rugs and carpets at Elkins 
Park. Pa., has made an excellent 400- 
foot film of this factory process from 
start to finish. Thus is our field ex- 

A Super-Record Film 

A • W. Pollard, of Austin. Texas, 
^^ advances a new idea for the 
use of double exposure that should 
be of great interest to amateurs who 
are building up a record film library 
— and which of us is not? Briefly, the 
plan is to employ a mask box and 
mask which will expose the two 
halves of the negative separately. By 
means of this device, a small child is 
photographed in motion on one half 
of the film, the other half, of course, 
remaining unexposed. The film is 
now taken from the camera, re-wound 
in a dark-room, and stored away for 
six months or a year. At the end of 
this stated period the camera is thread- 
ed with the same film, and again set 
up. The mask is adjusted to expose 
the other half of the picture, and the 
child I assumed now to be noticeably 
larger) photographed on the unex- 
posed portion of the film. Develop- 
ing now takes place, and. if the exper- 
iment has been carefully performed, 
there results a unique and valuable 
record, which visually compares two 
different time factors at once. 

There are, however, several points 
of manipulation which must be at- 
tended to carefully. The first ques- 
tion that arises concerns the keeping 
quality of the film during the storage 
time necessary. To keep the film for 
this length of time is perfectly feas- 
ible, providing reasonable care is ob- 
served. The film should be purchased 
fresh just before the picture is to be 
taken. After the first exposure is made, 
it should be wrapped in black paper, 
sealed in a can with adhesive tape, 
and kept where the temperature is as 
uniformly cool as possible. The mask 
should be carefully made in the form 
of two swinging or sliding leaves 
which meet squarely in the center 
of the masking area. Careful nota- 

tion should be made of the position of 
the device on the camera, and of the 
order in which the two halves are 
exposed. Artificial light is recom- 
mended for the illuminant, so that 
the two exposures, although separated 
by the element of time, may develop 
to as nearly the same density as pos- 
sible. It is also best to provide a 
neutral or slightly out-of-focus back- 
ground. By this means any inaccuracy 
in the mask registration will be min- 
imized. In short, every attempt should 
be made to have the conditions of each 
exposure approximately uniform. 
This applies to lighting, focus, camera 
angle, in fact, to everything except the 
subject. The extent to which this is 
achieved will create all the value and 
interest of such a picture. The idea 
is really the logical outcome of link- 
ing up records made at different times 
by means of the dissolve or fade-in 
effect, which some of our members 
have already accomplished. 


(Continued from page 242) 

will be white upon the screen and vice 
versa.) Cell 2 has the spots in differ- 
ent positions, but the spot at the top 
of the tree remains. However in cell 
2 light rays are shown. Cell 3 lacks 
this top spot and has a third group. 

When this title is photographed the 
spots will wink and blink and the top 
light will shoot off rays at intervals. 
The effect will be that of a Christmas 
tree filled with twinkling lights. If 
the cells are not placed in exact regis- 
ter the error will not be noticeable as 
an interval occurs between each regis- 

Illustration Two shows a set made 
to illustrate a photomicrographic film. 
In this we have a similar effect and 
the photography is done in the same 
manner. Here we have water drop- 
ping down the left side of the frame 
and splashing at the bottom. At the 
right we have a "bug" that waves his 
four upper arms, whose hair waves 
from side to side and who winks at 
us. In using this set the cells are used 
in a different order from that of the 
first example, namely, 1-2-3-2-1-2-3-1- 
2-3 and so forth. That is, cell 2 alter- 
nates with 1 and 3. 

In making the cells it is necessary 
that they be laid over the card when 
drawing them as this will insure any 
necessary registration. 

If such titles are developed at home 
it is best to make up a special high 
contrast developer with hydroquinone 
only as the reducing agent, as metol 
would serve no purpose here. Rodinal, 
glycin and other valuable gradation 
developers should be avoided in this 
work as they give the very thing which 
vou want to avoid. 

10'%'IE M/%ICERS 


(Continued from page 233) 

again the bars of the cage symbolize 
the trapped woman. This usage is 
obvious, but its consistency and sim- 
plicity have value as an example for 
the amateur. The symbol, repeated 
several times, serves as a "tag" that 
helps to hold the story together. 

Story Idea: The story, almost ex- 
clusively concerning the reactions of 
the two principals, shows the amateur 
producer how a complicated tale can 
be told with a very limited cast. 

The Passion of Joan of A re 

SociETE Generale de Films 

Directed by Carl Dreyer 

Photographed by Rudolph Mate 

Closeup Technique: The story of 
the trial and martyrdom of Joan of 
Arc is told in vivid detail almost en- 
tirely by the use of closeups of the 
actors. All of the virtues of the close- 
up are represented, its value in pre- 
senting character study in film, its 
range in the selection of only the dra- 
matically significant details and its 
elimination of all other considera- 
tions. The amateur will find that this 
treatment of the closeup will suggest 
many of its valuable usages for him- 

Camera Treatments: The camera 
is moved freely from one position to 
another and the angles selected are 
chosen best to present the emotion ex- 
pressed by a character in a given 
instance. The amateur who carefully 
studies his camera positions will find 
many excellent examples here to guide 

Economy : The importance of sets 
and architectural details was reduced 
to a minimum. Although the 15th 
Century was only suggested, as a re- 
sult of the absence of long or medium 
shots that would conclusively estab- 
lish such a background, the portions 
of the sets shown were completely 
convincing. A large part of the action 
took place against a gray backing 
simulating stone walls for which the 
amateur could readily use a neutral 
colored canvas or plaster wall. The 
film contains many suggestions of 
economical substitution for expensive 
sets without resorting to stylized sets 
or trick work. 

This film is particularly worth the 
attention of the amateur because the 
treatment of the story, as a whole, is 
entirely new, because it conclusively 
demonstrates the power and variety 
of the closeup and because its tech- 
nique throughout is open to every 


lead the ivorld '^ 

BIOTAR F1.4, TESSAR F2.7 and F3.5, TELE-TESSAR F6.3 


Join This Cine Hunt 

TPHE popularity of the stories and pictures produced by the American 
■*■ Nature Association's Camera-Hunting Expeditions brought many 
requests to join such a trip. It is now possible. A limited, specially- 
conducted tour of Glacier National Park will go out in July to photo- 
graph wild animals and the outdoors in this western wonderland. Pack 
up your cameras, load up with film and trek along. It is an opportunity 

Full itinerary and data on costs from 



AX>I«UL 1929 


on 16 mm. film iu four parts 

For use with all Home Projectors 
Part one. Delhi, Agra, Benares bathing 
and burning ghats. 100' $5.00 

Part two. Fakirs and Snake Charmers. 
100' $5.00 

Part three. The cremation of a Hindu 
girl. 100' $5.00 

Part four. Sacrificing goats to the god- 
dess Kali. 100' $5.00 

The four parts in one 400' reel will make a 
complete, vivid startling and realistic record 
for your home of the 


May be obtained from the dealers listed 



Eastman Kodak Stores Solatia M. Taylor 


Alves Photo Shop, Braintree 


Home Movies, Inc. J. C. Freeman & Co. 


Smith OfSce Equipment Co. 


Detroit Camera Shop 


Starkweather & Williams 



The Harvey & Lewis Company 


Curtis Art Company E. S. Baldwin 


Hudson Radio Laboratories 


B. Gertz, Inc., Jamaica Lovett Cine Studio 


Wm. C. Cullen Gillette Camera Stores 

Eastman Kodak Stores, Inc. 


Fred'k. Loeser & Co. Schaeller Company 


Williams, Brown & Earle 


Mortimer's Twelfth Street Garage 


United Projector & Film Corp. 


Cunningham's Lindemer's 


Buffalo Photo Material Co. 


A. H. Mogensen Kelly & Green 


Tampa Photo & Art Supply Co. 


Franklin Printing & Engraving Co. 


Star Electric & Engineering Co. 


Aimer Coe & Co. A. S. Aloe Co. 


Visualizit, Inc. Ideal Film Corporation 


Leavitt Cine Picture Co. 


Photographic Stores Ltd., Ottawa 

Regina Films Ltd., Regina 


American Photo Supply Co., S. A. 


Honjo & Co., Kobe 


Frank Wiseman Co., Aukland 

Home Film 



For Amateurs and Dealers 

100 East 42nd St., New York City 

*The$e dealers are also rental stations 
lor Home Film Libraries, including the 
new series of 1929 Features. 

Flashes From the Field 

THE last minutes before going to 
press bring news of importance. 
Price of the Model B self thread- 
ing Kodascope is reduced from 
.1.300.00 to $275.00 by the Eastman 
Kodak Company, which, together 
with the reduction last month of the 
Model B / 3.5 Cine Kodak from 
$100.00 to $85.00, indicates an im- 
portant trend in the industry. Fifty 
foot rolls of Eastman panchromatic 
film at .$4.00 are also made available 
for the first time. The Agfa Ansco 
Corporation offers its clever Memo 
Camera as an accessory susceptible of 
many services to the movie maker. 
Consolidated Film Industries. Inc., 
announces a wide selection of library 
subjects, emphasizing the high tech- 
nical quality of these products of its 
huge laboratories. Bell & Howell 
send news of a new "special" / 1.8 
speed lens (Taylor-Hobson Cooke) 
designed especially for Kodacolor. 
Hugo Meyer & Co., manufacturers and 
distributors of the Correctoscope Fo- 
cusing and Exposure Meter, an- 
nounces a refinement of its device 
which consists of a train of gears to 
connect the meter with the camera 
lens and makes focusing automatic. 

Bell & Howell - Hall 

■pRED M. HALL, until recently tlie 
•■• Midwestern Filmo-Representative 
of the Bell & Howell Company, has 
been placed in charge of its New 
York territory with the title of New 
York District Manager, Filmo Divi- 
sion, assuming his new duties on 
March 1st, with headquarters in the 
Salmon Tower, 11 West 42nd Street. 

Duograph - Bodine 

pFFECTIVE on March 4th, H. 0. 
•*-' Bodine. who has been prominent- 
ly connected with the photographic 
and motion picture industry for 
twenty-six years, became General 
Sales Manager of Duograph, Inc., 130 
West 42nd Street, New York. Mr. 
Bodine is enthusiastic over the pos- 
sibilities of the Duograph, believing 
there is a big field for medium priced 
amateur movie equipment. At pres- 
ent Duograph is offering a line of 
hand and motor driven projectors at 
moderate prices, and Mr. Bodine an- 
nounces that other items of a complete 
line of cinematic equipment are in 
preparation, with special emphasis 
on a new Duograph camera which is 
planned, it is stated, to sell in the low 
price range of the present Duograph 

Mr. Bodines wide business experi- 
ence has included the following con- 
nections: Sales Manager of Raw Film 
Supply Company. New York City: 
Advertising and Sales Manager of 
the following firms: Wollensak Op- 
tical Company, Rochester. N. Y.: 
Herbert & Huesgen. New York City: 
Agfa Products. Inc.. New York City; 
Gevaert Company of America. New 
York City, and Eastern Manager of 
Bell & Howell Company, New York 

Eno in New Quarters 

RALPH R. ENO, 16 mm. art title 
pioneer and film editor, formerly 
of 117 Park Avenue. New York City, 
has leased studios in the Metropolitan 
Opera House Building, 40th Street 
and Broadway. 

M O '»' ■ C A* /% K E R » 

Better Movies 
with Still- film Assistance 

How the Memo Camera 
aids the Movie Makers 

LOCATION — background — point of view — composition — light- 
ing — the skillful posing of individuals and groups — why shoot 
hundreds of feet of costly movie film on the chance that all 
will come right when an inexpensive preliminary survey with the 
Memo camera will give you the sure foreknowledge of a professional 
movie director? 

The Memo uses 3 5 MM film for stills — 50 standard single- 
frame exposures with one 50-cent cartridge. The price of one $6, 
16 MM roll will provide film for 600 single-shot records that will 
tell you more about when, where, and how to use your movie camera 
than many months of movie-making unassisted in this way. 

The Memo is the quickest, surest aid to expert movie-camera 
operation ever offered. It's what you get that counts — and what 
you get will be better, more interesting, more economical of footage 
with the Memo to help you. 

And Memo pictures are effective in themselves. Many use the 
small Memo prints (on paper) as an album index to their movie 
rolls. Others use enlargements as art title backgrounds. Large num- 
bers supplement their movie shows with still-film Memo shows, using 
the Memoscope to throw onto the screen projection rolls printed from 
their Memo films. 

The Memo is small, weighing only about 12 ounces. It slips 
easily into the pocket. Fixed-focus model $20. Focusing models 
$25 to $40. Memo film (which is Agfa 35 MM negative film, extra 
fast and of beautiful quality) comes in daylight-loading cartridges at 
50 cents. Slip a Memo into your pocket and you're always ready 
for the unexpected picture opportunity, no matter where you may 
be. Wonderful for travel. A great boon to those wishing to gather 
material for illustrated addresses, talks, lectures, at an unheardof 
low cost. 

As an amateur photographer — especially as an amateur cinema- 
tographer — you owe it to yourself to be fully informed about the 
Memo camera. Mail the coupon today. 


■ rrit; 



fr#v AM 


olLn i^B^ 







Composition quickly 
learned with the 





^ ^^ , 









Complete the record 
with Memographs o( 
■"still" subjects. 















The Memo makes 



wonderful close-ups. 




v^ «^H 







o |^B.t iia 


L.\L'R.\ LA I'L.AXTE, Universal Stai. 
L'snig Hsr Ansco Memo Camcrd. 


Direct-Vision Spyglass 

Push-lever on back moves 

film along one frame after 

each exposure. 
Dial on front shows number 

of pictures taken. 
Quicker to load than a roU- 

film camera. 
F:6.3 and F:3.5 lenses — 5 

Regular single-frame basis, 

standard with still-film li- 

See the Memo at camera shops 
and photo supply stores. 

The Memoscope 

A practical still-film pro- 
jector for showing Memo pic- 
tures. Clear-cutting projection 
lens, carefully ground condens- 
ers, advanced type of lOO-watt 
projection lamp for large bril- 
liant image on the screen, and 
plugs in on an ordinary 115- 
volt electric light socket (di- 
rect or alternating). Price. 
$19.50, including 
carrying case. 



Please send me further information about the Memo 
camera as advertised in Movie Makers. 

T^ame . . 

The Memo Camera 

/%■>■&■■- 1929 

You haven't seen your folks back in 
Austria, Sweden, Kalamazoo or Kanka- 
kee for a long time. . .or perhaps they're 
globe trotting while you stay at home 
keeping the world safe for democracy. 

How'd you like to throw a reel on the 
little old projector tonight and SEE 
what they're doing? 

Then write us about the new cine ser- 
vice we've estabhshed! We can now ar- 
range for MOTION pictures for you at 
many points in this country and abroad 
. . .at very nominal cost, too! 


702 Church St., Evanston, III. 
Don't Write It.... Reel It! 


Cver^ihing Known inJ^otion Kciures " 




ng Detachable Ha 

Light a Meteor Flare (Powerful Fire- 
work Torch) and take a movie of the 
party — no equipment necessary. The 
same flare the professionals use. Five 
sizes, Yi, 1, 2, 3 and 4 minutes of light. 
Especially for outdoors. Also electrical 
flares fired by a flash-light battery, for 
special work. Several flares may be 
fired simultaneously. 

John G. Marshall 

Meteor Photo Chemicals 
1752 Atlantic Ave., Brooklyn. N. Y. 

Outdoor Night Movies 

A N attractive small folder, furiiish- 
** ing suggestions and instructions 
for the use of Meteor Photo Flares 
for taking movies of outdoor scenes at 
night, is announced by the Bell & 
Howell Co. 



The New '■First Lady" Is a Movie Mater, as Was 

Mfs. Coolidge. She Was Snapped with Her Cine 

Kodak on the U. S. S. Maryland. 

Quick Acting Tripod Lock 

A QUICK ACTING lock, which, it 
^^ is claimed, completely eliminates 
the use of a screw and the accom- 
panying delays and annoyances in 
attaching a camera to a tripod, is an- 
nounced by the M. A. C. Co., makers 
of cine accessories, 147 Pierrepont 

BASS . . . 



its appointment as sales 
representative of the 


Model L 
and the tvorld renowned 


Professional Motion Camera 

Latest catalogs and infor' 
mation on request. Your 
old camera may he traded 
in at its present cash 

Bass Camera Company 


Motion Picture 

in all branches 



S45 S. Wabash Ave. 
Chicago, Illinois 


»■ O '»"■ E 1*1 ^% ■% E IK S 

Street, Brooklyn, N. Y. The device 
consists of a disc, wedge-shaped in 
cross section, which is attached to the 
camera by means of a screw that fits in 
the camera socket. This part may be 
quickly fitted to the remainder of the 
device, which is fastened to the tripod 
head. A slight movement of the lock- 
ing lever attaches or detaches the 
camera instantly and also provides 
for a quick panoram. It is said that 
this device may be attached by any 
one to any camera in the time it takes 
to secure a camera on a tripod in the 
usual way. 

Talkies ■ Kleber 

ALWAYS deeply interested in the 
newest developments in the ama- 
teur field, C. C. Kleber, as the Sales 
Manager of the new Home Talkie 
Machine Corporation of 220 West 
42nd Street, New York, again assumes 
the role of a pioneer. The new de- 
vice which this company is marketing 
is designed to attach to any 16 mm. 
projector and sound device for the 
reproduction of talking pictures in 
the home. A library of subjects for 
this purpose is now being recorded by 
the company, which promises syn- 
chronized pictures and records of 
professional theatrical quality. Other 
enterprises with which Mr. Kleber has 
been associated during a wide and 
successful activity in the amateur in- 
dustry include the Wm. J. Ganz Com- 
pany, producers of the news reel for 
amateurs, Highlites of the Neivs, and 
Pathe Exchanges. Inc., for which he 
inaugurated the Palhegrams Library. 

New Film Catalog 

East 191st Street, Cleveland, 
Ohio, who is a producer of 16 mm. 
motion pictures, has recently issued 
his new catalogue of "Gold Seal Pic- 
tures," consisting of manv fine 100 
and 200 foot subjects. These subjects 
are printed by reduction from stand- 
ard negatives made bv professional 
cameramen and the prices are: 100- 
foot reels, $6.00: 200-foot reels. 
$12.00. Mr. Reynolds also specializes 
in expert reduction printing. 

New Year Book 

npHE 1929 American Annual oj 
■■- Photography, price $1.50, pub- 
lished by the American Photographic 
Publishing Co., Boston, Mass., is an 
excellent review of the photographic 
advances of 1928. There are manv 
pages of pictorial illustrations in ex- 
cellent reproduction, not a few of 
which would be of great value to the 
amateur from the standpoint of cam- 
era angle and composition. There are 
many articles in this volume on cine- 
matography, and the amateur who 



For Motion Picture 



Herbert & Huesgen Co. 

18 EAST 42nd STREET 

CINOPHOT, Universal Exposure Meter for Cine Cameras 

"It matches the Cine-Kodak." $12.50 

DREMOPHOT, Especially for Bell & Howell Co. 

FILMO 70 AND FILMO 75. $12.50 



Ask Your Dealer. 


jWy^M^ ^'MITf T' ^ "jV: ffW^ 

TLe Mode 

in Art Titles 

famous location 
^patious .Siiulio 
service finer than ever 

CALL . . PHONE . . OR . . WRITE 

Jend $2 ivith a list of short titles and 
receive your hand-lettered try-out, 
all ready to splice into your films. 

Phone Pennsylvania 2634 
1423 Broadway, New York 




'""'^r^ieMM) Alt Title Bo.U*r^Vrt«' 


>%■>■«■■_ 1929 


Annoinices the appointynent of 

of CANADA, Ltd. 


Wit/i Branches at 

MONTREAL Drummond Bldg. 

WINNIPEG Paris Bldg. 

VANCOUVER Credit Foncier Bldg. 

As Exclusive Canadian Distributors of the 

A complete stock of ARROW Portable 
BEAD SCREENS will be carried at these 
offices for immediate delivery. 

ARROW BEAD SCREEHS are made espe- 
cially for your 16 mm. projector under U. S. 
PatentJio. 1,399,566. 



3 1 1 FIFTH AVE. 


to the attractive garden of 
movie-making of which you 
had a ghnipse at the hottom 
of the Editorial Page of this 
number of MOVIE MAKERS. 

To the Date 


105 West 40th Street, New York City. 
1 accept the invitation of the Amateur Cinema League, Inc., 
to become an annual League member. My check for Five 
Dollars payable to Amateur Cinema League, Inc., is enclosed in 
payment for the dues. $2.00 of which is the special member- 
ship rate for a year's subscrption to Movie Makers (Non- 
member rate $3.00; Canadian $3.25; Foreign $3.50.) 

It is understood that immediatelv upon my election I am to become entitled 
to all the privileges of the League. It is also understood that there are no 
duties or obligations connected with this membership other than those which 
I may voluntarily assume from time to time. 

Name „ 

Street City State 

desires to be really well-informed 
will want to read them all. 

New Manager 

has been connected with the Ama- 
teur Movies Corporation. Philadel- 
phia, Pa., has now taken over the 
management of the News Reel Labora- 
tory, 1707 Sansom Street, in the same 
city. This laboratory produces mo- 
tion pictures for commercial, educa- 
tional, medical and advertising pur- 
poses, specializing in 16 mm. 




A DeVrv Enthusiast and His Camera. 

Dubray with B. & H. 

OSEPH A. DUBRAY, well-known 
J motion picture technician and 
formerly Secretary of the American 
Society of Cinematographers. has left 
the Coast to take up his new duties as 
Director of Technical Service for the 
Bell & Howell organization in Chi- 
cago. Mr. Dubray's departure from 
Hollywood was accompanied by a 
special resolution